446 - Mount Holyoke College Institutional Archive

I give permission for public access to my thesis for any copying to be done
at the discretion of the archives librarian and/or the College librarian.
Nora Heij Mariano
June 29, 2010
1
The Craft(ing) of Reynard:
Dissecting the Trickster Fox in Medieval England
Nora Heij Mariano
An Undergraduate Thesis Submitted to the Faculty of Mount Holyoke
College in Partial Fulfillment of the Requirements for the Degree of
Bachelor of Arts with Honors
Medieval Studies
Under the direction of Carolyn Collette and Harold Garrett-Goodyear
Mount Holyoke College
South Hadley, MA
May 2010
2
ACKNOWLEDGMENTS
First, I would like to thank Carolyn Collette and Harold GarrettGoodyear: the advisors who guided me through not just the process of
researching and writing my thesis, but who also have encouraged and
taught me ever since the September of my sophomore year. Their wisdom
and kindness has meant so much to me through the years. From them I
learned how to never take anything for granted – not even the very
definition of what we call ‚medieval" – and that while we may never find
an answer to what we seek, it is the way we question, the way we explore,
and the way we listen to and debate with each other that has the most
meaning in study and in life.
Thank you also to my other brilliant medievalist professors at
Mount Holyoke. Thank you to Wesley Yu, a member of my thesis
committee, whose excitement and passion for his subject gave me a muchneeded boost of mental energy at the end of the semester. Thanks also to
Christine Andrews, Michael Davis, Craig Davis, Patrick Healy, and
Stephanie Hayes-Healy, among others.
Thank you to Jennifer King and Patricia Albright, who provided
me with the incredible experience of working at Mount Holyoke’s
Archives & Special Collections for the past three years. I learned there
what happens to papers and books – whether they be medieval or
nineteenth century – after their original creation and usages, and why we
as archivists and historians want to preserve them and keep the past alive
for people in the present and the future.
The most important aspect of my Mount Holyoke education was
being part of a community of medievalists made up of not only faculty,
but also students. I was incredibly lucky to find dear friends in this small
3
group of medievalists: Lakshami Mahajan, Elizabeth Carlson, Sarah
Gorski, and Marika Malkerson.
Thanks must of course also go to my family, for their unwavering
support and love. To my mother, Els Heij, who has always been my most
enthusiastic audience, and whose belief not only in my work but also who
I am as a person keeps me grounded, and at the same time encourages me
to never limit myself. To my father, Joe Mariano, who has always
supported me as a scholar. To my sister Sophie and brother Ben, whose
eye-rolling gives me perspective. To my mother’s cousin, Lydia Hagoort,
who is a role model not only as fellow historian and archivist, but also as a
loving friend.
And to my late grandfather, opa Gerrit Heij, who introduced me to
Dutch literature through Max en Maurits, and whose legacy as a
medievalist has been my strongest motivator throughout this project.
4
TABLE OF CONTENTS
I.
II.
Introduction...............................................................................................6
‚A Fals Beste and Decyeuable‛: The Fox-Devil in the Medieval
Animal Kingdom....................................................................................24
III.
‚Ach Felle Reynart‛: Ancient Fox Themes in Pre-Reynardian
England.....................................................................................................57
IV.
‚Subtly False Shrewis‛: Deceit as a Political Tool..............................73
V.
Conclusion...............................................................................................92
VI.
Bibliography............................................................................................98
5
IMAGES
1. ‚Hybridity and Transformation‛.........................................................29
The Luttrell Psalter: a facsimile. Ed. Michelle P. Brown. London: The
British Library, 2006. Mount Holyoke College Archives & Special
Collections. Folio 266.
2. ‚The Sick Lion‛.......................................................................................40
Johann Wolfgang von Goethe. Reineke Fuchs. Stuttgart: J. G.
Cotta’fcher Berlag. 1857. Mount Holyoke College Archives &
Special Collections. 164.
3. ‚Fox with Bird‛.......................................................................................48
The Luttrell Psalter. Folio 31 r.
4. ‚Fox Hunt‛...............................................................................................56
The Luttrell Psalter. Folio 64 v.
5. ‚The Fox & the (Sour) Grapes‛.............................................................62
Aesop’s Fables: a new translation. V.S. Vernon Jones. Intr. G. K.
Chesterton. Illus. Arthur Rackham. London: W. Heinemman; New
York: Doubleday, 1912. Mount Holyoke College Archives & Special
Collections.1.
6. ‚Battle.‛....................................................................................................71
Reineke Fuchs. 195.
7. ‚Reynardian Wheel of Fortune.‛..........................................................79
Festal Missal. Koninklijke Bibliotheek.
6
I
INTRODUCTION
There is nothing foreign about animal literature in modern Western
society. On the contrary, the genre has been thriving in the last hundred
years or so, especially in the genre of children’s literature. E.E. Milne’s
Winnie the Pooh, Beatrix Potter’s The Tale of Peter Rabbit, and Kenneth
Grahame’s The Wind in the Willows continue to be some of the most iconic
stories written for children of this age, and all feature animals carrying out
the roles of humans. However, these modern books are the descendants of
medieval literature that was most definitely not written specifically with
children in mind. The nineteenth-, twentieth-, and twenty-first-century
children’s stories in fact have a long and violent history.
7
Animal stories also have an extraordinarily rich history,
particularly in the eleventh through fifteenth centuries in Europe, and
especially in the fourteenth century in England. A vast body of medieval
literature and visual imagery relies on animal anthropomorphization and
animal/human hybridity. Out of these depictions of animals grew a
distinct set of animal iconography that was understood not only by
English people, but also by people living in the Low Countries, France,
Germany, and other places in Europe. One of the animal symbols that
remain most constant throughout this art and literature is the fox as
trickster. In the descriptions of foxes from texts like the Middle English
Physiologus1 (a bestiary translated into English in the fourteenth century),
and On the Properties of Things2 (an encyclopedia also translated into
English in the fourteenth century), the traits of real foxes living in nature –
like living in underground dens and playing dead to catch prey – are
given human motivations. The crafty fox is often compared to the devil,
who lives underground and tricks souls into his keeping. Born out of the
The Middle English Physiologus. (Ed. Hanneke Wirtjes. Early English Text Society. Oxford
University Press, 1991.)
2 On the Properties of Things: John Trevisa’s Translation of Bartholomeus Anglicus De
Proprietatibus Rerum. (Oxford: Clarendon Press, 1975.)
1
8
medieval interest in animal literature – and dependent on traditional
animal symbolism – was Reynard the Fox.
William Caxton’s 1481 English version of the story begins with all
the king’s courtiers gathered around him at the royal court, all except for
one of his favorites, Reynard the fox.3 One by one, the courtiers present
their complaints about Reynard to Noble, the lion king. Isengrym the wolf
speaks up first, telling the king about how Reynard had broken into his
house, violated his wife, and then urinated on the eyes of his children.
Courtoys the hound, Tybert the cat, and Chauntecleer the cock, among
others, follow, reporting stories of theft, humiliation, and murder. The
only creature speaking in defense of Reynard is his nephew, Grymbert the
badger. The king decides that Reynard should be found and brought back
to court so that he can judge the fox’s fate. He sends Bruyn the bear out to
find Reynard, who is lurking at his favorite home deep in the woods, the
castle of Maleperduys. After greeting Bruyn courteously, he invites him to
eat his fill of honey he has found in a nearby log before they go to court.
Bruyn is unable to resist the offer, and he sticks his head and paws into
the log, but he finds that he can’t remove them. A gleeful Reynard
The History of Reynard the Fox. (Trans. William Caxton. Ed. N.F. Blake. The Early English
Text Society. London: Oxford University Press, 1970.)
3
9
observes as Bruyn starts bellowing in fear, and local villagers come
running with pitchforks to kill the bear. Left without any options, Bruyn
forcibly pulls himself out of the log, tearing out the fur on his head and
paws. Bloody and near death, he manages to jump into a stream and swim
for miles back to court.
Next, the king sends Tybert the cat to fetch the fox. Reynard has a
plan in place for the cat as well, and promises Tybert a meal of plump
mice if she goes into a barn on their route to court. Tybert creeps into the
barn, but she is spotted by the local priest whose barn it is. The priest and
his mistress run out of their house – the priest naked and the woman
barely covered – in order to catch the cat. Apparently, Reynard had
trespassed on their property a few days before, and when they saw the
small animal body of the cat, they think it was the fox returning. In their
confusion, they try to kill the cat, but she is too quick for them and climbs
up the priest, castrating him. Like Bruyn, the cat is seriously injured when
she returns to court without Reynard.
Grymbert the badger volunteers to find his uncle Reynard.
Reynard goes willingly with Grymbert, but the badger tells Reynard that
10
he should only return in a spirit of penitence and piety. Reynard gives his
confession to Grymbert, who forgives him his sins. Reynard reports his
crimes, including a curious story about his past as a monk with Isengrym.
He then promises not to commit more murders, although he comes close
to breaking his oath by the time they reach court.
At court, Reynard goes to the king and pledges his service to him,
and accuses the others of making false accusations. The other courtiers
want none of that, and they cry out for justice. Although he is pained by
Reynard’s apparent humility and reminders of their friendship, the king is
roused by their pleas, and judges that Reynard will be executed. On the
scaffold, Reynard weaves an intricate tale of lost treasure hidden by his
late father, who apparently had been a traitor in his life. Reynard
convinces the king that he can only have access to the treasure if he lets
the fox live, because only he knows where to find it. The king and queen
let him off with his life, and he tells them that they must go alone to find
the treasure, while he makes a pilgrimage to Rome to repent for his sins.
Incredibly, they believe him, imprison Isengrym and Bruyn, and
grant Reynard’s wish to make his pilgrim’s shoes out of the paws of
11
Isengrym and his wife Erswynde, who thereafter are forced to walk on
bloody stumps. Reynard is also given a bag and staff, which complete his
pilgrim’s garb. The bag is made of a section of Bruyn the bear’s skin. On
pain of death, Bellyn the ram and Kywart the hare are forced to
accompany Reynard. They go first to Reynard’s house, supposedly so that
he can take leave of his wife Ermelyn and their children. Reynard invites
the hare into his house, leaving the ram outside. A few hours later,
Reynard hands Bellyn his pilgrim’s bag, and says that it contains a special
message for the king while Reynard stays at home with his family.
When the king opens the bag, he sees Kywart the hare’s head.
Enraged, the king orders Bellyn to his death. The wolf and bear, however,
are more discerning, and they recognize that Reynard must have been
behind the hare’s death. They convince the king of this, and, desirous of
peace within his kingdom, the king throws a seven-day feast in honor of
them. The feast is interrupted by Corbant the rook, who rushes to the king
to tell him that Reynard has killed his wife. In true fox fashion, Reynard
had lain on the ground, his tongue hanging out, and waited for the bird to
come peck at him. As soon as she was close enough, the fox snatched her
and bit her head off.
12
Anger again sweeps over the court, and it is proclaimed that the fox
should be taken from his castle by force. He returns, and a trial ensues to
decide his fate once again. It seems that Reynard is going to face death,
but his aunt Dame Rukenawe the ape steps in. She speaks on and on,
telling fables, and quoting Seneca and the Bible, all to trick the king and
his courtiers to release the fox. Reynard follows after her, and proceeds to
accuse Bellyn of being a Jew, saying that he had killed the cat in an
attempt to frame Reynard. Bellyn’s Jewishness, Reynard claims, proves
that Bellyn is a trickster who in his greed for the buried treasure wanted to
have Reynard executed so that Bellyn could be free to find it. His and his
ape aunt’s long speeches regain in part the king’s sympathy for Reynard.
Instead of executing the fox, the king decides that the wolf and fox will
instead engage in a battle that will decide his fate. Isengrym – furious at
Reynard – is of course all too willing to fight Reynard to the death. The
battle will take place in two days, which it turns out, is long enough for
the fox to plan how he will use his deceit to overpower the wolf. The ape
helps him, urging him not to go to the bathroom for a full day before the
battle, and to coat his body with grease.
13
When the time comes to do battle, it appears as if Isengrym will
win due to his superior size and strength. However, Reynard distracts
him by releasing the urine he had been storing up for the last day into the
wolf’s face. When Isengrym tries to grab him, the fox simply slides away,
being covered in grease. These tricks allow Reynard to strike his nearly
fatal blows on to the wolf, and he is declared the winner. Although
Isengrym survives after three days on his suspected deathbed, he is
humiliated. Reynard, purely by virtue of his ability to trick everyone he
encounters, is restored to his full glory at court, even receiving a
promotion.
Reynard is successful because he fools others. He knows his
enemies well, and so he plays on their shortcomings, greed, and
weaknesses in order to manipulate and trick them. Foxes are constantly
being depicted as tricksters in the more than two thousand years of
writing that still exists about them. The ability to understand the fox
symbol is dependent on the widespread nature of animal literature.
Animal literature is a vast category, most significantly including animal
fables and beast epics, bestiaries, encyclopedias, and hunting manuals.
Versions of these texts were widely circulated in late medieval England,
14
some unique to England, but many (especially in the cases of animal
fables and beast epics) were fairly international, read and written
throughout Western Europe. The internationalism of Reynard the Fox and
animal literature in general made it possible for the work to be relatable to
various European countries.
The first version of the Reynardian beast epic – the forebear of
Reynard the Fox – was composed in Ghent (in modern-day Flemish
Belgium) as the Latin verse epic Ysengrimus, in c. 1148-9.4 Over the course
of almost a millennium, the form changed in language, and style, but the
story retained much of the same content, and continued to be interesting
and relevant to various cultures. Following the Ysengrimus, the next
version was the Roman de Renart, a series of about forty episodes written in
France from c. 1170 to 1240 about a fox named ‚Renart le Goupil.‛ 5 The
fox became simply Renart, a name which stuck to the character, even in
various other languages throughout the history of the beast epic. Around
the same time, Reynard traveled to Germany, and his story was written
down by the German Alsatian Heinrich der Glicosaere, who titled his
Kenneth Varty. Reynard, Renart, Reinaert, and Other Foxes in Medieval England: the
Iconographic Evidence. (Amsterdam: Amsterdam University Press, 1999.) 23.
5 Ibid. 24.
4
15
work Reinhart Fuchs, consisting of about 2260 lines.6 In the next century
the form of Reynard that is still read and celebrated today as the greatest
piece of Dutch medieval literature was composed as the 13th century 3500
line Flemish Van den Vos Reynaerde.7 Although a mini-epic poem, Rainaldo e
Iesengrino, was also written in the early 13th century in Italy, it is really Van
den Vos Reynaerde that stands out as the main version written in the 13th
century.8 Van den Vos Reynaerde is still extant in two manuscripts written
in the 14th century, and the story simmered and changed a little through
the 13th and 14th centuries in the Low Countries until its title changed to
Reynaerts Historie and Reynaert de Vos in various editions in the 15th
century.
Gheraert Leeu, one of the most important Dutch early printers,
indeed, one of the most significant printers of his time in any culture,
published a prose version called Die Hystorie van Reynaert de Vos in 1479.9
Although the basic story did not change that much, the language Leeu
used is remarkably closer to modern Dutch than the Dutch of the Van den
Vos Reynaerde. Leeu served as a significant portion of the bridge
Ibid.
Ibid. 25.
8 Ibid.
9 Ibid. 27.
6
7
16
connecting the largely continental Reynard cycle to the English translation
of the late fifteenth century by William Caxton.
Caxton was born in approximately 1422 in the Weald, Kent,
England.10 He is known most widely as the first printer in England,
having translated many works in other languages such as Latin, French,
and Dutch, and printed these and English texts, for the benefit of the
populations of England and Flanders. He began his career as an
apprentice to Robert Large, a prosperous and well-known merchant, in
London in 1438.11 Large became the mayor of London a year later, and his
position of power likely helped Caxton become respected as a merchant
himself. After Large died in 1441, Caxton moved to Bruges. 12 He was
destined to remain in the Low Countries ‚by the space of xxx yere for the
most parte in the contres of Braband, Flaundres, Holand, and Zeland.‛13
Caxton was a member of the Company of Merchant Adventurers, and he
later became a governor of the Company, bringing him into a position of
power in the world of trade. Eventually, Caxton learned how to use a
The Prologues and Epilogues of William Caxton. (Ed. W.J.B. Crotch. Early English Text
Society. London: Oxford University Press, 1928.) xxvii.
11 Ibid.
12 Ibid.
13 Ibid. xxviii.
10
17
printing press, and became involved in the business of printing in
continental Europe. After the invention of the printing press, the art of
printing was taken up as a money-making enterprise and as an
opportunity to spread ideas more widely than was possible before. Those
who were involved in printing were often engaged in a rich exchange of
material, as evidenced through the types of texts being printed in various
locations in the decades that followed the invention.
One example of such exchange was that which existed between
William Caxton and Gheraert Leeu.14 Although Leeu was not the only
printer working in Holland when he began, both Caxton and Leeu each
served to bring their respective countries further into the world of print.
Physical evidence of a direct dialogue between the two is difficult to find,
but the most compelling argument for some kind of interaction is that
much of their early work runs parallel in important places. Significantly,
it was Leeu’s 1479 edition of Die Hystorie van Reynaert de Vos that Caxton
translated into English and printed as Reynard the Fox at Westminster in
1481.15
Leeu in Dutch means ‚lion;‛ Gheraert Leeu printed various texts about
anthropomorphized animals, so his surname seems fitting.
15 The Prologues and Epilogues of William Caxton. 62.
14
18
Various other parallels exist in their work. In the same group of
years in which they were printing their Reynardian texts, Gheraert Leeu
printed two editions of his Latin incunable text Dyalogus creaturarum
moralizatus (Dialogue of Creatures Moralized) in Gouda in 1480.16 As the title
suggests, the work is about anthropomorphized animals, pointing to the
possibility that Leeu was interested more greatly in this genre and the
symbolism behind it beyond the Reynard story. He printed multiple
editions of both Die Historie van Reynaert de Vos17 and Dialogus creaturarum
moralisatus18 through the 1480s; many of these versions were incunabula
and/or contained woodcuts. Also of interest is that they both wrote
similar texts describing the histories of their respective regions. Gheraert
Leeu in 1478 in Gouda printed Die cronike of die hystorie van hollant, which
traces the history of the Dutch provinces from its supposed first invasion
by Brutus, all the way up to events happening in the current year.19
The story of Brutus was not original to the Dutch provinces. In
fact, it was one of the old stories explaining the founding of Britain (the
Gheraert Leeu: meesterprenter ter goude, 1477 – 1484. (Stedelijk Museum Het Catharina
Gasthuis. Gouda, 1992.) 42.
17 Incunabula Printed in the Low Countries: A Census. (Ed. Gerard van Thienen and John
Goldfinch. Niewkoop: De Graaf Publishers, 1999.) 344.
18 Incunabula Printed in the Low Countries. 13.
19 Gheraert Leeu: meesterprenter ter goude. 30.
16
19
name ‚Britain‛ was supposed to have derived from ‚Brutus‛) found in
such medieval works as Geoffrey of Monmouth’s The History of the Kings of
Britain, an English text written in Latin and finished c. 1136.20 The story
goes that Brutus was the grandson of Aeneas, and that, anxious for his
own land to settle, he journeyed north to Britain to found that country.
This creation story was a significant one because it connected Britain not
only to Rome, one of the most important empires of the late antique
world, and one that had enjoyed a strong presence in Britain a millennium
before Caxton, but also to Troy, an even older civilization of mythical
vastness and power. Trojan ancestry meant more than simply political
and militaristic power; it meant a connection to the gods. The significance
of this is multifold: first, Caxton printed a text called Descripcion of Britayne
– influenced by his early printing of the Polycronicon – in 1480 at
Westminster21, and second, his first printed volume was the Recuyell of the
Historyes of Troy in 1475 for Margaret of York, his first major patron. 22
Clearly, both printers were interested in including histories of their
countries amongst their early work, indicating both some kind of
Geoffrey of Monmouth. The History of the Kings of Britain. (Trans. Lewis Thorpe.
London: Penguin Books, 1996.) 9.
21 The Prologues and Epilogues of William Caxton. 40.
22 Ibid. 2.
20
20
nationalistic pride, and similar interests, motivations, and inspirations.
The fact that they both printed versions of the same creation story points
to some kind of a shared sense of identity.
The Reynard story’s international and timeless appeal, particularly
in northern Europe, forces the scholar to wonder why it proved to be both
entertaining and relevant to various cultures and times. Besides the
obvious categorization of Reynard as a piece of animal literature, the text is
really all about breaking outside of traditional boundaries. The Ysengrimus
and its descendants relied on much older fables, the most famous of which
were written by Aesop in the sixth century B.C.E. The various tropes that
make up the Reynardian cycle, such as animal anthropomorphization,
ignoble violence, and bawdy humor are all ones that figured significantly
in the folklore and fabliaux that were close relatives to animal fables.
Although these themes, and the genres of folklore and fabliaux, are often
subjected to the categorization of ‚low‛ literature, this label makes little
sense when considering who read Reynard the Fox in Caxton’s England. In
fact, Caxton very much meant his translation to be crucially important to
people of various social classes.
21
The fact also remains that it proved to be appealing to people not
only of various social classes, but also time periods and geographical
locations. Boundaries are constantly being broken in Reynard. The story is
derived from ancient Greek iconography, yet is written down in medieval
Ghent, supports medieval religious values, is perfectly applicable to preEarly Modern political philosophies, and is later in the nineteenth and
twentieth centuries manipulated to appeal to children and to support
nationalistic ideas.
The borders between species never seem clear. The characters of
Reynard are all animals, with the exceptions of a group of angry human
villagers, and a scene with a naked priest and his lover. Yet, the animals
are anthropomorphized and have the ability to communicate, act, and
manipulate each other in very human ways. The boundaries between the
bodies of characters are often penetrated: a female wolf is raped by the
fox, the fox wears the paws of the wolf couple on his own feet, and
various characters are victims of serious violence to the point, even, of
death. Social roles are transgressed simply through characters’ changes of
costume and other physical signifiers.
22
One of the few unchanging factors found in animal literature
throughout centuries – millennia, even – was the fox’s role as a trickster.
Although the fox was always deceitful, his role as a trickster was
interpreted very differently depending on who his audience was. In fact,
Caxton’s decision to print his edition proved to come at an incredibly ripe
moment in history. Caxton’s English edition of the text, signifying its first
formal introduction into English literature and culture, came at a time
when conceptions of deceit were changing. Caxton himself was hugely
critical of deceit. In his prologue to Reynard the Fox, he writes that the story
should be taken as a lesson about recognizing tricksters in places of
power. He believed that they lurk in every kind of court, both earthly and
ecclesiastical, and that people of all social classes – merchants, bishops,
kings – are susceptible to deceit if they are too concerned with money and
power. He condemns those who have risen to power through simony, lies,
flattering, or violence.
Caxton’s ideas are in keeping with earlier prevailing views on
deceit, and are in line with comparisons of the fox with the devil in texts
like the Middle English Physiologus and John Trevisa’s On the Properties of
Things, both of which first appeared in English in the fourteenth century.
23
However, evidence shows that Caxton’s English contemporaries did not
necessarily condemn deceit in the same way. Instead, the discourse
surrounding political behavior of late fifteenth-century England indicates
that the use of deceit could be acceptable – and sometimes even
encouraged – as a necessary aspect of astute statecraft. Reynard the Fox is
thus not only a fascinating example of animal literature, but it also
illuminates a crossroads in English conceptions of deceit. In order to
examine this crossroads, representations of foxes in medieval literature
will be investigated to show how the trickster fox related to immorality
and the devil, and how the deceitful fox could have actually been
perceived as an astute politician.
24
II
‚A FALS BESTE AND DECEYUABLE‛23:
THE FOX-DEVIL IN THE MEDIEVAL ANIMAL KINGDOM
The overwhelming majority of medieval depictions of foxes was
fundamentally negative. In fictitious fables and ‚non-fictional‛ texts like
bestiaries and encyclopedias, the fox’s conniving character is compared to
that of the devil. Both foxes and the devil were said to live underground
and to use their wits, their knowledge of humankind’s weaknesses, and
ability to create false senses of security in their victims in order to trick
them into their keeping. In literature, the fox’s preferred prey, for eating,
are often birds of various sorts and small mammals, and the animals he
targets for other reasons tend to be larger animals with more power and
influence. Sometimes he tricks other animals simply to humiliate them.
On the Properties of Things: Trevisa’s Translation of De Proprietatibus Rerum. (Vol. II.
Oxford: Clarendon Press.) 1263.
23
25
The devil’s prey is usually, of course, human souls. The fox’s actions are
almost always given human motivations, even if they are done by real
foxes in nature, like living in underground dens or fighting other animals.
As one of the least trusted animals in the universe of animal symbolism, it
is not surprising that the fox would be compared to the most evil and least
trustworthy creatures thought to dwell in the human sphere, the devil.
It is interesting that the fox would be compared to a creature that
does not in reality exist in nature, but it is in keeping with much medieval
animal literature that a religious identity would be given to the fox. For
example, the lion is often connected to earthly kings – in Reynard the Fox,
the king is a lion – and also to Christ, who is said to be the king of kings,
the king of heaven. What does it say about medieval religious belief that
the devil would be able to outwit and take advantage of Christ, the son of
God? And, what does it say about medieval ruling systems that a courtier
– and not the most powerful or popular courtier at that – would
consistently be able to outsmart the king? The latter question will be taken
up again in the following chapter. This chapter will be a discussion of
depictions of the fox in medieval literature and imagery found pre-1481,
that is, before Reynard the Fox was printed in English. All of the examples
26
given have evidence of having been fairly widely-known in England
throughout the eleventh through fifteenth centuries, and a significant
number of them were produced in the fourteenth century, which may
point to a rise in interest of animal symbolism, or it might be illustrative of
a culture increasingly concerned with the vernacular. In fact, various fox
stories as well as texts describing the natural world were produced in
English in the fourteenth century. Both the Physiologus and On the
Properties of Things were translated into English, and the few examples of
English medieval fox stories after Marie de France were also written in
this century: The Vox and the Wolf, Geoffrey Chaucer’s The Canterbury
Tales,24 and Sir Gawain and the Green Knight.25 Michelle Brown, in her
introduction to the 2006 facsimile of the Luttrell Psalter, argues that the
incredible quantity of imagined creatures depicted in the Psalter points to
an attempt made by its illustrators to depict a new kind of social order in
response to the tumultuousness of the fourteenth century. English people
‚The Nun’s Priest’s Tale‛ was based on an Aesopian fable of conflict between the fox
and the cock.
25 Sir Gawain featured a fox hunt.
24
27
living in that century experienced the Black Death, the Hundred Year’s
War, various religious heresies, and peasant uprisings. 26
All these texts illuminate the medieval concepts of hybridity and
fuzzy boundaries between humans and animals. (See Image 1) Dorothy
Yamamoto provides a useful summary of what lay at the heart of
medieval animal imagery and literature: ‚Where there are boundaries,
and borderline areas, there is always a danger of frontiers being crossed
and categories becoming mixed, with formlessness or hybridization the
result.‛27 Although to modern minds perhaps reserved for the realms of
science fiction or fantasy or children’s literature, the concept of
transgressing bodily boundaries – that is, transformation of the body – is
found littered throughout the literature and visual art of the Middle Ages.
The belief in the symbolism surrounding animals is absolutely dependent
on an ability to imagine hybridity and transformation. If one can’t fathom
that an animal could possibly have any human characteristics, then it is
impossible to regard Reynard as a trickster – how could a fox otherwise
do such human things as give confession, outwit a king, or talk to an aunt,
The Luttrell Psalter: a facsimile. (Ed. Michelle P. Brown. London: The British Library,
2006.) 1.
26
Dorothy Yamamoto. The Boundaries of the Human in Medieval English Literature. (Oxford:
Oxford University Press, 2000.) 29.
27
28
who happens to be an ape?
29
Image 1: ‚Hybridity and Transformation.‛ The Luttrell Psalter. Folio 266 r.
30
Physical transformation is not reserved to a particular genre, but is found
in sacred texts, courtly romances, fabliaux, hunting manuals, bestiaries,
animal fables, advice manuals, intellectual treatises, editions of classical
literature, and many other kinds of literature, as well as figured into
architecture and manuscript illumination.
For example, in the pages of the fourteenth century Luttrell Psalter,
most of the marginalia is made up of creatures that are composed of more
than one kind of species. They are often animal/human/plant hybrid
figures, sometimes known as ‚grotesques‛ or, more kindly, ‚babewyns.‛
These are not forms found in nature; rather, they were imagined by
humans. Although they are accompanied by little verbal explanation – in
fact, it is difficult to decipher the relationship between much of the
marginalia to the psalms they accompany – they are still able to tell their
own stories. Michael Camille, in works such as Image on the Edge28 and
Mirror in Parchment29 has done much work to bring marginalia out from
their physical and metaphorical edges, and into the center of scholars’
analyses of manuscripts. In fact, it is important to not mentally relegate
Michael Camille. Image on the Edge: the Margins of Medieval Art. (Cambridge: Harvard
University Press, 1992.)
29 Michael Camille. Mirror in Parchment: the Luttrell Psalter and the Making of Medieval
England. (Chicago: University of Chicago Press, 1998.)
28
31
manuscript marginalia to the kind of space they inhabit on the page (that
is, on the edge, precariously close to slipping out of sight), just as one
must not negate the importance of animal literature. It is far too easy to
ignore both because they deal with such fantastical subject matters, and so
they are not typically treated with the same gravity that scholars often
accord to, for example, the imagery found on the center of the page
(miniatures) or above the doors of the church (tympanums), or to courtly
romance or theological texts. Simply the fact that a text uses imagined
creatures – creatures made up of animal bodies and human characteristics
– to tell a story does not mean that the story is any less true than one
relying on fully human characters. A human story is a human story, even
if it is told by foxes and wolves.
After the invention of the printing press, the decoration of texts
changed, though the process was gradual in the last decades of the
fifteenth century and early years of the sixteenth. The issue of hybridity
was less obvious in most woodcuts and engravings, for various possible
reasons. Among those reasons are the practical ones, including the fact
that the medium of print meant that more of the same thing were
produced than was possible when most texts were manuscripts. Early
32
Reynardian printed texts from the late fifteenth century often contain a
particular style of woodcut, where the subjects are mostly animals,
sometimes dressed in human clothes, but usually not. Clothing was for
the most part accorded only to animals enacting particular human roles;
the lion wears a crown and other kingly symbols, and the wolf monk
wears a robe and cowl. There are a great number of incunabula, texts
containing printed words but hand-decorated imagery, which still exist
from this period. One incunable text in particular was printed by
Gheraert Leeu: the Dyalogus Creaturarum Moralizatus, which is kept at the
Bijzondere Collecties of the Bibliotheek van de Universiteit van
Amsterdam (Special Collections of the Library of the University of
Amsterdam.) This text is a collection of animal fables, accompanied by
hand-colored illustrations. Although his Latin-language edition is the
most well-known, he also printed the same text in Dutch and English.
Gheraert Leeu, remember, was the highly significant Dutch printer who
produced the 1479 copy of Die hystorie van Reynaert die vos that Caxton
used to translate from. According to a biography of Leeu published by
the Stedelijk Museum Het Catharina Gasthuis in Gouda, the hand-colored
woodcuts found in his edition of the Dyalogus are considered a
33
masterpiece by scholars studying his work as well as the more general
public.30 The Dyalogus, as an incunanable text, illustrates the bridge
between earlier illuminated manuscripts and the woodcuts quickly
becoming more commonly used in printed books. It is curious that
Caxton did not print an edition of this text; it certainly would have
corresponded well with his printing of Aesop’s Fables and Leeu’s Reynaert.
It is also interesting to note that Caxton did not include illustrations –
woodcuts or otherwise – in his edition of Reynard, although his successor,
Wynkyn de Worde, later did. In fact, Caxton’s text stands out as an unillustrated edition in the midst of a tradition of Reynardian woodcuts
arising not long before Caxton printed his Reynard the Fox and far into the
sixteenth century. It is not clear why Caxton chose to publish his without
illustration; he did incorporate woodcuts into other books he printed, like
his Aesop’s Fables.
It is in part because of the volume of animal literature and imagery
that the symbolism of animals was fairly universal in its use in northern
Europe. Although a manuscript could be illuminated in one place, much
of the basic symbolism it contains could often be understood somewhere
30
Gheraert Leeu: meester prenter ter goude. 9.
34
else, even if the language of the text could not be understood. Animal
symbolism works like any other kind of symbolism known
internationally: it transverses cultures and speaks a language of its own.
Jan Ziolkowski argues that
animals have earned this universal status not because they are so much
the same the world over but because people are so much the same; for
most animals in fiction are not portrayed realistically, but instead are
anthropomorphized: that is, human motivation, characteristics, and
behavior are attributed to them.31
The concept of animal/human hybridity applies not only to
creatures physically having bodies with the characteristics of more than
one species, but also to creatures that have the body of one species, but the
internal characteristics of another. Usually, this is seen in
anthropomorphized animals: animals that retain their own bodies, but
who act like humans. Sometimes, humans are described to have the
characteristics of particular animals, for example, the devious, fox-like
courtier and the king who rules like a lion.
It is also important that a significant number of animal stories
probably circulated orally, which greatly expands the pool of people
familiar with them. It is, however, much easier to focus on surviving texts.
Jan Ziolkowski, Talking Animals: Medieval Latin Beast Poetry, 750-1150. (Philadelphia:
University of Pennsylvania Press, 1993.) 6.
31
35
Examples of literary sources of animal anthropomorphization that were
read fairly widely in medieval England are works such as the fables of
Aesop and Marie de France, the Middle English Physiologus, the
encyclopedia On the Properties of Things, and hunting manuals, as well as
the English poem The Vox and the Wolf. The breadth of these examples
illustrate how animals figured prominently not only in ‚fictional‛ stories
(fables, the Vox and the Wolf, and Reynard the Fox itself), but also ‚nonfictional‛ texts (bestiaries, encyclopedias, and hunting manuals.) These
texts, and more, are examples of literature that fifteenth century English
readers of Reynard the Fox would likely have been familiar with. By the
time Caxton printed his 1481 English edition of Reynard the Fox, most
English people were fully prepared to understand what its characters
represented, because we know, through the study of the aforementioned
texts, England was already steeped in international animal iconography.
Additionally, these texts provide evidence for the pre-fifteenth century
concept of the fox’s deceit being devil-like, which becomes a foil for the
political treatment of deceit in Caxton’s time.
36
In his book Mastering Aesop: Medieval Education, Chaucer, and His
Followers, Edward Wheatley describes the scope of medieval use of fable,
that
In the Middle Ages, fables were taught in schools, quoted in sermons,
depicted in manuscript margins, painted onto walls, and told and retold
by the literate and illiterate alike. Such historical information signals the
first intellectual leap that we as modern readers must make in
confronting this subject: we must be able to imagine an era during which
fable was taken seriously as a vehicle for social, political, and religious
communication.32
This passage should indicate to the reader that animal fables were known
widely by people of various social classes and provided important means
of expression. Proof for the use of fables in medieval grammar schools
can be found, in part, in Priscian’s Latin Praeexercitamina, a guide for
medieval education based on the grammar treatise by the Greek
Hermogenes. Priscian lived c. 500 in Mauretania and Constantinople, and
provided some of the groundwork for medieval education. This is one of
the few instances where animal literature was read by medieval children.
A passage from the Praeezercitamina relates that
A fable is a composition made up to resemble life, projecting an image
of truth in its structure. This is what orators first offer to children,
because they can easily introduce impressionable young minds to the
Edward Wheatley. Mastering Aesop: Medieval Education, Chaucer, and His Followers.
(Gainesville: University Press of Florida, 2000.) 3.
32
37
better things. The great authors of antiquity also used fables, men like
Hesiod, Archilocus, Horace.... all [stories] have in common the label
Aesopian, because Aesop was accustomed to use fables frequently
among groups. This technique applies to the needs of life and becomes
realistic if the things which happen to the subject are then related to
the experiences of real men. For example, when one wants to talk
about beauty, a peacock may be brought in; if it is one’s purpose to
treat of cleverness, let him tell about a little fox; if he wants to show
how human beings are imitators, let that be place for apes....33
Something that fables often do well is to firmly take hold of certain
problems, whether they are political, religious, or social, and to present
them in such a way that is veiled and subtle. In this way, the dialogue
becomes safer for all parties because using metaphor, although
understood by many, could potentially serve to remove blame from the
author and her or his audience.34 This could certainly have been true for
Aesop, who was often written into history as a Greek slave writing in the
sixth century B.C.E. by people like Herodotus (writing in the fifth century
B.C.E.), though Plutarch described him in the first century C.E. as an
advisor to the king of Lydia in the sixth century.35 In either case, writing
Mastering Aesop. 36.
There is little evidence that the use of animal symbolism in medieval texts actually
came out of a desire to appear innocent of directly attacking people of higher status.
Instead, it seems that although particular texts do exhibit characteristics of the times in
which they were produced, the anonymity of, for example, the king figure in all the
versions of Reynard the Fox allows the story to relate to various time periods and
monarchies.
35 Mastering Aesop. 36.
33
34
38
in the veiled format of fable must have given Aesop more leverage than
he otherwise would have had. Medieval authors often characterized
Aesop as being a devious trickster figure just like the fox.
Marie de France, who wrote in Old French, was another fabulist
connected, if the stories are true, with the court of a foreign monarch.
Mary Lou Martin attempts to trace Marie’s existence in The Fables of Marie
de France, mentioning that she may have been a countess, the wife of a
nobleman, a nun, the half-sister of Edward II of England or possibly an
abbess at Shaftesbury.36 It is generally agreed that Marie, whoever she
may have actually been, was writing in the twelfth century and was
associated with the English court. Martin argues that twelfth century
England was characterized by a fear of change and sentimentality towards
the past. As can be suggested for the composition of Reynard the Fox,
‚Marie’s social observations and admonitions in her work represent an
effort to codify modes of behavior at a time when the old codes were
rapidly changing.‛37 The early versions of Reynard were being recorded at
roughly the same time that Marie was writing, and it is not likely that this
Mary Lou Martin. The Fables of Marie de France. (Birmingham: Summa Publications, Inc.,
1984.) 2.
37 The Fables of Marie de France. 5.
36
39
was simply coincidence. Rather, it is proof that animal literature and
symbolism was of continued importance. Both texts are clearly didactic,
even if the morals may have been interpreted according to the different
contexts in which they were read. In his Foreword to The Fables of Marie de
France, Norris J. Lacy writes,
Significantly, the practice of blurring the bounds between species and
investing animals and objects with human characteristics has the effect
less of showing how close they may be to us than of indicating how
much like animals we are.... The morals are always about us, and they
constitute a veritable catalogue of human ignorance, ambition, and
treachery, relieved only occasionally by praise of virtue or intelligence. 38
The following fable is an example of one of the many that contain a
trickster fox. (see image 3) Scholars of the various Reynardian texts often
point to this story, which in fact was originally written by Aesop, as being
the primary source for the twelfth century Ysengrimus.39 In their 2009
edition of Van den Vos Reynaerde, the first edition to feature an English
translation,
Norris J. Lacy. Foreword. (Mary Lou Martin. The Fables of Marie de France: an English
Translation. (Birmingham: Summa Publications, Inc., 1984.) i.
39 Of Reynaert the Fox: Text and Facing Translation of the Middle Dutch Beast Epic Van den
Vos Reynaerde. (Ed. Bouwman and Besamusca. Trans. Thea Summerfield. Amsterdam:
Amsterdam University Press, 2009.) 10.
38
40
Image 2: ‚The Sick Lion.‛ Goethe. Reineke Fuchs. 164.
41
Dutch literary scholars André Bouwman and Bart Besamusca argue that
this fable was one which was available to the author of Van den Vos
Reynaerde, a man who describes himself simply as Willem, and that this,
more than the Ysengrimus, was a likely source for that thirteenth century
Middle Dutch version. In any case, this story was certainly not new to
Marie de France – Aesop is said to have been its original recorder,
although it may have been circulating in oral tradition earlier. The story
tells that the lion, who was the king, was sick, and sent for the fox, known
for his medical abilities. Being cautious as well as sly, the fox did not
immediately go to the king, who, in anger, asked the wolf why the fox
was not coming. This fable does not explain why the wolf would be
suspicious of the fox – but it is in keeping with their traditional
relationship – and so he tells the lion that the fox is most likely not coming
to help out of malice. When the fox hears of this, he goes to the lion, and
tells him that the only cure is to flay the wolf, and to wrap the lion in it.
The wolf, amazingly, is still alive, although he suffers terribly. The moral
of the story is that the wolf receives his just punishment for unfairly
condemning the fox. However, the fable seems to be much more complex
42
than that; obviously, the fox is also operating with some sort of deceit, and
may have previously given the wolf some reason for suspicion.
A similar scene occurs in the various versions of Reynard the Fox,
although by the time the fifteenth century Dutch and English versions are
printed, it has morphed into a more nuanced and complex story. In
Caxton’s Reynard, Isengrym the wolf’s skin is removed in order to provide
Reynard with a set of sturdy shoes for Reynard’s pilgrimage to Rome. The
king allows the removal of Isengrym and his wife Erswynde’s own hind
feet for Reynard’s purposes, because Isengrym was one of the major
courtiers condemning Reynard before he was granted a pardon from the
king, so this act of torture is basically his punishment. To add insult to
injury, as Erswynde lies on the ground suffering, Reynard tells her that
she should be glad, because her feet will be going to Rome and will reap
the spiritual benefits of pilgrimage. In addition to the wolf-shoes,
Reynard also acquires a large section of Bruyn the bear’s skin to make a
scryppe, a bag used on pilgrimage. In both the cases of the wolves and
the bear, characters suffer the removal of their skin because the fox has
convinced the king that he, in fact, was the innocent accused of a crime,
43
while his accusers were committing slander, and were therefore punished
for something they did not actually do.
68. The Sick Lion and the Fox
A lion was very sick, overcome and worsened by disease. All the
animals went to him. They spoke among themselves and considered
how they should treat him and if anyone could give them advice on
the subject. Many of them were in favor of asking the fox for a
treatment, since he knew how to heal animals and how to talk to the
birds. They had him summoned by a messenger. The fox went to
answer their call, but first he hid near the room, for he was cunning
and sly. The lion got very angry and called his provost, the wolf, to
ask why the fox hadn’t yet come. The wolf answered, ‚There’s nothing
detaining him but the malice of his own mind, because I sent him my
messenger. I’ll have him found and brought here, and you will have
him hanged or otherwise put to death, and thus you will punish him
in such a way that his relatives may take a lesson from it.‛ The fox,
having heard himself condemned, was greatly upset. Step by step he
came forward until he was well in sight of the animals. ‚What do you
want here?‛ said the lion, and the fox answered him, ‚So help me God,
Your Majesty, I don’t know what I could have done before I found the
treatment for your disease. I have wandered many a day since
receiving your call. As a matter of fact, I was in Salerno, where the
doctors, who heard of your illness, prescribed that a wolf be skinned
alive for you and that his blood be collected in his skin and put on
your chest until tomorrow. This will cure you of your disease.‛ They
took the wolf who was there, and they held him until he was skinned
alive. They gave the skin to the lion, and the wolf ran away in terrible
pain. As he was leaving the house, flies and gadflies came and stung
him fiercely. The fox went up to him very slyly and asked him what he
would do now that he was sitting there without his skin: ‚I see that
your paws are torn apart. Another time, I hope you’re punished so that
you won’t do wrong to others that will come back to yourself!‛ He
44
who seeks the downfall of others should have that very misfortune
befall him, as with the wolf who wanted to bring misery to the fox.40
The fact that fables were used so frequently in medieval education
and were made known to people of various backgrounds indicates that
the beast epic genre, based on animal fables, spoke to a broad population
in a language they could understand. Another kind of text that followed
similar parallels was the bestiary, a book that lists animals and attributed
certain characteristics to them. Although the bestiary is not supposed to
be fictional in the way that fables are, they both use similar iconography
and depend on the shared, assumed symbolism present in the fictitious
texts. Animal fables typically use real animals as characters; they may be
animals that would normally not be found in the same geographic regions
(for example, there are no lions naturally occurring in Flanders), but they
do exist somewhere. Bestiaries, however, do not operate on the same
principles. Instead, they feature a mix of animals like lions, foxes, eagles,
and serpents, as well as mermaids or sirens. Just like their classical
ancestors, bestiaries weave commonly understood animal knowledge –
the sort of knowledge that could be discovered through observation of
40
The Fables of Marie de France. 175 – 177.
45
nature – with superstition coming out of history and religious beliefs. In
this sense, they occupy the same kinds of imaginary realms that texts
featuring hybrid creatures in marginalia do.
One such fascinating bestiary is The Middle English Physiologus,
which is available in only one surviving manuscript, British Library MS
Arundel 292, dated to approximately 1300 and written probably at
Norwich. 41 Scholars disagree as to when the original Greek Physiologus
was first composed, but it is generally understood that it was written
sometime in the second, third, or fourth centuries C.E.42 The Physiologus
cannot be understood as a complete invention by its author, but rather
coming out of a tradition of similar works describing the natural world,
like the Historia animalium by Aristotle43, and Pliny’s Naturalis historia.44
Both of these earlier writers claimed to be authoritative on the subject, and
also that their knowledge came from observation of nature as well as past
knowledge. Although they present their material as fact, they both
include information that modern science could hardly accept as truth.
Hanneke Wirtjes, the editor of The Middle English Physiologus, tells that
The Middle English Physiologus. ix.
Ibid. lxx.
43 Ibid. lxviii.
44 Ibid. lxix.
41
42
46
Aristotle makes claims like ‚animals can be impregnated by the wind
(541. a. 26-31.)‛45
The Physiologus works in much the same way; it presents itself as a
compilation of information about animals found in the natural world, and
yet it is muddled by contemporary and past superstitions, and even
further by the inclusion of Christian beliefs and symbolism. Much of the
information incorporated into the entries for each animal presented is
Christian, and this indicates a departure from the earlier standard content
of bestiaries as well as another layer of symbolism, although Christian
authors such as that of the Physiologus managed to retain much of the
traditional iconography. Christian iconography was not unfamiliar with
animal symbolism. Animals were often featured in religious texts,
especially accompanying the presence of the four Evangelists: Matthew,
Mark, Luke and John. On the pages of books like The Book of Kells and The
Luttrell Psalter, the Evangelists are symbolically represented by their
particular creatures: Matthew is shown as the angel, Mark the lion, Luke
the ox, and John the eagle.
45
Ibid.
47
The following passage is the entry for the fox, again working as a
trickster. It describes the way in which the fox kills its prey, particularly
birds, in nature. The fox lies on the ground, sometimes in a ditch, and
waits for birds to come to it. As soon as they are close, the fox suddenly
leaps up and devours the nearest victim. This same trick is used by
Reynard in Reynard the Fox, and it is described when Corbant the rook
goes to Noble, the lion king, to complain that Reynard had killed his rook
wife, Sharpbecke. Reynard, evidently, had lain down on the ground as if
dead, but when Sharpbecke came to investigate, poking at the tongue
hanging from Reynard’s mouth, he leapt up and ate her. The fox is also
often shown to carry its bird prey by grabbing the bird’s neck, and tossing
its body onto his back. (see image 3)
The author of the Physiologus, not uniquely, compares the fox’s
manner of tricking its victims to the way the devil tricks people into
committing sins. This comparison supports the notion of the trickster as
demonic, and that deceit was thought to be practiced by the devil,
indicating that a pervasive conception of deceit found in late medieval
England was highly negative.
48
Image 3: ‚Fox with Bird.‛ The Luttrell Psalter. Folio 31 r.
49
Natura wulpis
A wilde der is đat is ful of fele wiles:
Fox is hire to name for hir qweđsipe.
Husebondes hire haten for hire harm-dedes:
Đe coc & te capun ȝe feccheđ ofte in đe tun,
& te gandre & te gos, bi đe necke & bi đe nos.
Haleđ is to hire hole: forđi man hire hatieđ,
Hatien & hulen bođe men & fules.
Listneđ nu a wunder đat tis der dođ for hunger:
Gođ o felde to a furȝ & falleđ đarinne,
In eried lond er in erđ-chine, for to bilirten fuȝeles.
Ne steređ ȝe noȝt of đe stde a god stund deies
Oc daređ, so ȝe ded were, ne draȝeđ ȝe non onde.
Đe rauen is swiđe redi, weneđ đat ȝe rotieđ,
& ođre fules hire fallen bi for to winnen fode.
Derflike wiđouten dred he wenen đat ȝe ded beđ.
He wullen on đis (foxes) fel & ȝe it wel feleđ:
Liȝtlike ȝe lepeđ up & letteđ hem sone,
Ӡelt hem here billing rađe wiđ illing,
Tetoggeđ & tetiređ hem mid hire teđ sarpe;
Fret hire fille & gođ đan đer ȝe wille.
Significacio
Twifold forbisne in đis der
To frame we muȝen finden her:
Warsipe & wisedome
Wiđ deuel deređ dernelike:
He late he ne wile us noȝt biswike,
He lat he ne wile us don no lođ
& bringeđ us in a sinne & ter he us slođ.
He bit us don ure bukes wille,
Eten & drinken wiđ unskil,
& in ure skemting
He dođ rađe a foxing.
He billeđ one đe foxes fel
50
Wo so telleđ idel spel,
& he tiređ on his ket
Wo so him wiđ sinne fet;
& deuel ȝeld swilk billing
Wiđ same & wiđ sending
& for his sinfule werk
Ledeđ man to helle merk.
Significacio
Đe deuel is tus đe fox ilik,
Miđ iuele breides & wiđ swik,
& men, also đfoxes name,
Arn wurđi to hauen same.
For wo so seieđ ođer god
& đenkeđ iuel on his mod
Fox he is & fend iwis –
Đe boc ne leȝeđ noȝt of đis.
So was Herodes fox & flerd
Đo Crist kam into đis middel-erd:
He seide he wulde him leuen on
& đoȝte he wulde him fordon.46
William Caxton was evidently familiar with the work of John
Trevisa, who translated On the Properties of Things from Latin into English
in 1389. There is no evidence that Caxton printed On the Properties of
Things himself, though his assistant, and later his successor, Wynkyn de
Worde did publish an edition of the text in the sixteenth century. Caxton
46
Ibid. 11, 12.
51
did print Trevisa’s Polycronycon in 1482.47 In his prologue to that text, he
names On the Properties of Things as another text that Trevisa had
translated, this one out of the original Latin text composed by
Bartholomeus Anglicus.48 On the Properties of Things is a major medieval
compendium of knowledge, consisting of information about everything
from minerals to animals to angels to humans. Like the Physiologus, it was
supposed to be used as a reference for the properties of natural things, but
it incorporates superstition and religion into its descriptions. On the
Properties of Things follows the same basic idea that the fox’s deception
was devil-like. The fox here is described as not being able to move
straight-ahead; instead, it runs sideways, because its legs are longer on
one side than the other (a physical indication of duplicitousness.) Again
the description of the fox’s hunting techniques is vilified because it
pretends to be dead in order to catch its prey. Apparently, the fox is the
most foul-smelling animal, and it sprays its urine onto its foes so that it
can overcome them through trickery rather than strength. Drawing on the
authority of Pliny, this author tells that the fox’s only saving grace is its
47
48
The Prologues and Epilogues of William Caxton. 64.
The Prologues and Epilogues of William Caxton. 65.
52
apparent usefulness in medicine, and that its grease, marrow, blood, and
tongue all have healthful properties.
Many of the traits in On the Properties of Things accorded to the fox
correspond to descriptions found elsewhere, including in Reynard the Fox.
To make up for its size and strength when fighting other animals, Reynard
uses his deceitfulness to win over his enemies. The tricks described in On
the Properties of Things, like urinating into the faces of its enemies and
pulling in his ears and tail are used by Reynard. A significant scene in
which Reynard does these things occurs when he fights with Isengrym
near the end of the story. Because the wolf is so much larger and stronger,
Reynard spends the day prior preparing for their battle, not getting rid of
any urine and covering himself in grease to evade the wolf’s grasp. In
Reynard the Fox, the fox is aided by his aunt, an ape.
De vulpe. Capitulum cxiiii.
The fox hatte vulpes and haþ þat name as it were ‘walowynge feet
asyde’ and goþ neuer forþright but alway aslont and wiþ fraude. And
is a fals beste and deceyuable for whanne him lakkeþ mete he feyneþ
himself deed, and so foweles comeþ to him as it were to a carrayne.
Ƿanne he takeþ hem and sleeþ and deuoureþ hem, as Ysidorus seiþ
libro xii. Ƿe fox halteþ alwey for þe right legges beþ schortere þan þe
lifte legges. His skynne is swiþe hery, rowȝ, and hoote. His taile is
53
grete and rowȝ, and whan an hound weneþ to take him by þe taile he
takeþ his mouþe [and teeþ] ful of heer and stoppeþ it. Ƿe foxe fighteþ
wiþ þe brokke for dennes and defouleþ þe brokkes [badger or beaver]
denne wiþ vryne and wiþ dritte and haþ so þe maistry ouer him wiþ
fraude and guyle and nouȝt with strengþe. Ƿe foxe wonyeþ in place
and dennes vnder eorþe and steleþ and deuoureþ more tame bestes
þan wilde. Aristotil seiþ libro viii.... And is a glotoun beste and
devoureþ moche and gendreþ blynde children þerfore as doþ þe leoun
and þe wulf, as Aristotil seiþ libro vxi. For as Solinus seiþ, in alle bestes
þat gendreþ brood incomplete þe cause is glotonye, for if kynde
suffrede hem abide forto þey wexe complete þey schulden slee þe
moder wiþ soukynge. And þerfore kynde makeþ hem nought be ful
complete leste þey schulde slee here owne modres by glotony and
grete coueytise of mete. Ƿe foxe is a stynkynge beste and corrupte and
corrumpeþ ofte þe places þat he wonyeþ inne conynualliche and
makeþ hem bareyne. His wombe is white and þe nekke vnder the
þrote and his tayle is reede and his bakke. His breþ stynkeþ and his
bytyng is somdele venemous, as Plinius seiþ. And whanne houndes
purseweþ him he draweþ inne his taile bytwene his legges; and
whanne he seeþ he may not skape he gadereþ vryne in þe tayle þat is
ful hery and rowȝ and þroweþ þat vryne vpon þe houndes þat
pursueþ him; and þe stenche of þat vryne is horrible to þe houndes
and þerfore þe houndes spareþ him somdele. Ƿe foxe feyneþ him tame
in tyme of nede, but by nighte he awayteþ his tyme and doþ schrewed
tornes. And þough he be swiþe gyleful in himself and malicious, ȝit he
is good and profytable in vse of medicyne, as Plinius seþ libro xxviii,
capitulo viii. For his grece and mary helpeþ moche aȝeins schrynkynge
of senewes, as it is ysede. His blood is acounted temperynge and
dissoluynge and departynge harde þinge and is good þerfore to breke
þe stoone in þe bladder and in þe reynes, as it is ytrowed. Plinius
setteþ þere oþere opynyouns of grete men of propretees fo foxes, of þe
whiche I rekke nought to make mencioun. But he seiþ þat if a man
vpon him haþ a foxes tonge in a rynge oþer in a broche he schal nouȝt
be blynde, as wichchees meneþ.49
49
On the Properties of Things. 1263, 1264.
54
Medieval English hunting manuals also reduced the fox to a low,
foul category. According to Anne Rooney in her book Hunting in Middle
English Literature, there were three books of hunting written in medieval
England (other hunting texts were written in continental Europe and
imported into England): The Art of Venery, Boke of Huntyng, and Tretyse off
Huntyng.50 English hunting texts usually focused on beasts of venery (the
hart, hare, boar, and wolf.) The hunting texts written on the continent
were often more focused on useful knowledge about the actual techniques
of hunting, whereas English books were largely more interested in the
noble hunt for beasts of venery, and its role in the lives of the nobility and
the court. Foxes, on the other hand, were considered to be, usually, beasts
of chase, but sometimes were even downgraded to vermin. Fox hunting
was widely-known to be a favored English sport, depicted in the Luttrell
Psalter, and only outlawed a few years ago in England. In a website called
‚Icons: a Portrait of England,‛ the fox was nominated to be an icon of
England in a poll of popular opinion. The page says that,
The red fox . . . is one of our most distinctive wild mammals, noted for
its wily resourcefulness and its intelligence. In medieval times, it was
the central character in the stories of Reynard, the scheming trickster
Anne Rooney. Hunting in Middle English Literature. (Cambridge: The Boydell
Press,1993.) 176.
50
55
who was always getting himself into scrapes, but was highly skilled at
talking himself out of them too. When held to account for his actions
by the lordly Lion, Reynard was not above a measure of defiant
backchat. It was in this guise that he came to symbolize the rural
peasant’s contempt for feudal landowners. In the centuries that
followed, the fox found itself playing an unwilling starring role in the
last of the major bloodsports to be outlawed in England. Hunted down
by packs of dogs, as well as humans on horseback, it was supposedly
getting its just deserts for its predatory nature – which may have come
as a surprise to it, since it wasn’t aware of being capable of moral
choice, being only an animal.51
The fox, clearly, continued to be a feature of English rural sport
long after the medieval period. The fox hunt was one feature of the way
in which superstition was constructed around the fox, and the role of the
fox was so often as a vilified and hunted trickster. (see image 4)
51
‚Icons: a Portrait of England,‛ < http://www.icons.org.uk/nom/nominations/fox-the >
56
Image 4: ‚Fox Hunt.‛ The Luttrell Psalter. Folio 64 v.
57
III
‚ACH FELLE REYNART‛52:
ANCIENT FOX THEMES IN PRE-REYNARDIAN ENGLAND
Although there were many other symbolically important animals in
medieval art and literature, representations of the fox seem particularly
rich. The fox was clearly an animal that carried historical precedence and
cultural significance for England, even if the story of Reynard the Fox did
not appear in English until 1481. Before that year, stories were written
about the fox in England, and just as we have seen in other animal
literature, it always acted in a similar manner, even when motivations
attributed to it may have changed. The continued reliance on
iconography had the effect that the fox was not capable of having its own
agency as a character. Its actions cannot be simply blamed on individual
The History of Reynard the Fox. (Trans. William Caxton. Ed. N.F. Blake. The Early English
Text Society. London: Oxford University Press, 1970.) 91.
52
58
motives, because they are almost always traceable to earlier designations
of character. If the fox character is limited because it must fulfill certain
symbolism to maintain the essence of its foxiness, then its potential
complexity beyond the standard iconography must be diminished. If
bestiaries, hunting manuals, and encyclopedias state that the fox is a
trickster, and if many of the animal fables involving the fox support this,
then the fox must continue to be deceitful in order to be recognizable to an
audience well-steeped in traditional animal symbolism. It is perhaps for
that purpose of being understandable that the fox in Reynard the Fox does
little that has not already been stipulated in these genres.
Although much of the medieval literature about foxes was, as we
have seen, common to much of western continental Europe as well as
England, there was also a tradition of using the fox as a storyteller in both
literature and visual imagery particular to England. England’s use of
Reynardian themes and characters indicate some level of familiarity with
the Reynardian tradition before Caxton. Besides always being portrayed
as a trickster, medieval fox stories usually include other themes, including
the ancient rivalry between the fox and the wolf and the fox’s continued
use of ignoble violence. The fox features in unique English works such as
59
Sir Gawain and the Green Knight and ‚The Nun’s Priest’s Tale‛ in Geoffrey
Chaucer’s The Canterbury Tales, but it is most significantly depicted in the
English poem The Vox and the Wolf. The only remaining version of the
poem exists in MS Digby 86 (folios 138 r – 140 r), which dates from
sometime between the last quarter of the thirteenth century to the
beginning of the fourteenth.53 Various scholars, including Kenneth Varty
and Jill Mann, have tried to trace the origins of The Vox and the Wolf.
Because the story is one that reflects a Reynardian tradition, the existence
of The Vox and the Wolf is an important piece of evidence pointing to
English knowledge of the Reynard cycle before Caxton’s translation. The
entire poem is based on the exchange between the fox and the wolf at a
well, and this same scene occurs in various other traditions, including the
French Roman de Renart; the Dutch and Flemish versions: the Ysengrimus,
Van den Vos Reynaerde, Den Hystorie van Reynaert de Vos; and their English
descendant, Reynard the Fox.
Intriguingly, one of the earliest portrayals of the fox and wolf at the
well theme appears in early medieval Jewish literature. Citing Haim
53
Jill Mann. From Aesop to Reynard. 229
60
Schwarzbaum’s research on the medieval Jewish Fox Fables, 54 Kenneth
Varty illustrates how these earlier Jewish fables relate to the Reynard cycle.
In the same period that the Ysengrimus was composed, Rabbi Rashi (in c.
1070) and Petrus Alphonsus (in c. 1109 – 1114) were writing fables about
foxes. Schwarzbaum believes they both may have been influenced by
Rabbi Meir (c. 135 – 170 C.E.) and Rabbi Hai Gam (d. 1038.) All four were
writing in Hebrew. Closer to the composition of The Vox and the Wolf,
Rabbi Berechiah Ha-Nakdan wrote his 117th fable of the Mishlé Shu’Alim
(Fox Fables) in the mid thirteenth-century.55
In his version of the fox fable, Rabbi Rashi draws on three Talmudic
passages to create a fable-exemplum. The passages are, ‚(a) the fathers
have eaten sour grapes, and the teeth of the children have become blunt
(Ezekiel, 18: 2); (b) just balances, just weights (Leviticus, 19: 36); (c) the
righteous man is delivered out of trouble, and the wicked person comes in
his stead (Proverbs 11: 8.)56 In this version, a fox convinces a wolf to
intrude on a Friday evening Sabbath banquet, but upon seeing the wolf,
Haim Schwarzbaum. The ‘Mishlé Shu’alim’ (Fox fables) of the Rabbi Berrechiah Ha-Nakdan:
A Study in Comparative Folklore and Fable Lore. (Kizon: Institute for Jewish and Arab
Folklore Research. 1979.)
55 Reynard the Fox: Social Engagement and Cultural Metamorphoses in the Beast Epic from the
Middle Ages to the Present. Ed. Kenneth Varty. Ibid. 246.
56 Ibid. 247.
54
61
the people beat it (this seems logical; imagine a wolf coming into a
courtyard with plans to join a group of people for Sabbath.) (see image 5)
62
Image 5: The Fox and the (Sour) Grapes. Aesop's Fables. 1.
63
The wolf escapes with his life, and plans to take vengeance on the fox, but
the fox manages to dissuade the wolf by telling him that the Jews in fact
have a particular grudge against his father, and thus had their own
particular reason to act against the wolf. Then, the fox quotes the
aforementioned passage from Ezekiel. The second part of the fable finds
the fox leading the wolf to a well on a night with a full moon. The fox gets
in one of the buckets in the well; the well has two buckets, and when the
fox sinks into the well, the other bucket rises. In response to the wolf’s
confusion as to why the fox has gone into the well, the fox replies that he
has found a large cheese in the well. Greedy, the wolf climbs into the other
bucket, and due to his larger weight, causes that bucket to sink while the
fox’s bucket goes up to the surface. The cheese was never real; instead, it
was the reflection of the full moon in the water. The wolf wonders how
he is to come back to the top, and the fox answers by quoting the Leviticus
and Proverbs passages. There is a certain amount of irony and comedy
here. The wolf is tricked twice in a row by the fox, and the fox then uses
the Bible as an excuse. The fox is of course not a righteous man, and there
is no just outcome. Comedy is mingled with religious teachings in a way
that must have been successful, as the fable remained in Jewish tradition
64
as well as the Christianized tradition of the majority of medieval
Europeans.
Petrus Alphonsus, who was a converted Spanish Jew, wrote
another exemplum-fable based on the same theme. A fox comes upon a
farmer and a wolf arguing about the ownership of oxen. The fox decides
that the oxen will go to the farmer, who in return will give him two hens.
To placate the wolf, the fox promises him a large cheese. Later, the fox
takes the wolf to a well at night beneath a full moon, and points to the
moon’s reflection in the water, saying that it is the promised cheese. The
fox goes into one of the two buckets hanging at the well, and descends.
When he reaches the bottom, he calls out that the cheese is too heavy for
him to carry alone, and the wolf goes into the other bucket, which raises
the fox. The fox flees the scene and leaves the wolf alone at the bottom of
the well. In both versions of the story, the small fox outwits the more
powerful wolf. In the latter version, he does so in order to get food (two
chickens) without being punished when he does not later fulfill his
promise to the wolf. These versions may be utilizing the trickster fox
figure in order to show how a marginalized group can use its intellect and
65
wit to turn the tables on the larger majority (the persecuted Jews using
what they have to survive in a largely Christian society.)
The theme makes an appearance in the Roman de Renard and other
versions of the Reynardian epic, but the Middle English The Vox and the
Wolf focuses entirely on that scene. It is not clear from either
Schwarzbaum or Varty that the Jewish tales had a direct impact on the
English version, and Varty fails to draw any direct connections between
the Dutch/Flemish versions upon The Vox and the Wolf. There is more
evidence of English-French literary exchange before Caxton, but it is
curious that more substantial pre-Caxton connections between England
and the Low Countries have not appeared in most Reynardian
scholarship. After all, Reynard the Fox’s direct parent was Leeu’s Dutch
Den Hystorie van Reynaert de Vos, not the French text.
The Vox and the Wolf follows much the same format as the other
stories, with some variation. A hungry vox (fox) is looking for food, and
comes upon a farmhouse. There he sees chickens, but Chauntecler the
cock (the same character appears in the Reynardian tradition as well as in
Chaucer’s Canterbury Tales), threatens him and sends him running.
Exhausted and thirsty, the fox sees a well with two buckets. He jumps into
66
one of them and sinks into the well. He realizes that the water stinks, and
that he can’t come out of the well on his own because of the pulley system
created by the two buckets. Crying out, he is heard by the wolf, who
comes over to the well, even though he is suspicious of him (apparently
they are neighbors and know each other well.) ‚ʽA,ʼ quod þe vox, ʽich
wille þe telle . . . Ich am reneuard, þi friend. . .ʼ‛57 The fox explains that on
the bottom of the well there is meat and drink, and, in short, heaven.
Convinced that going into the well means going to his death, but therefore
heaven, where he will never again be so hungry, he begs the fox to be his
priest so that he can be shriven. The wolf even confesses that he should
not have believed his own eyes when he saw his wife in bed with the fox.
Satisfied, the fox tells him he is forgiven, and to go into the other bucket if
he wants to find bliss. As soon as the wolf starts descending, the fox
begins to rise, grinning. Leaving the wolf, the fox goes to a friar and tells
him that there is a wolf in the well. The friar and the local villagers go to
the well, pull the wolf up, and kill him.
So is it now knowen to yow alle by hys owen wordes that is a deffamer
of wymmen as moche as in hym is ye may wel marke euerycheone, Who
shold lust to do that game to one so stedfast a wyf/ yf it be so as he sayth
Middle English Humorous Tales in Verse. (Ed. George H. McKnight. Boston: D. C. Heath
& Co., 1913.) 30.
57
67
yf she wyl save the trouth I wote wel/ she shal saye as I doo/ Tho spack
erswynde the wulfis wyf/ Ach felle reynart/ noman can kepe hym self
fro the/ thou canst so well vttre thy wordes and thy falsenes and treson
sette forth/ but it shall be euyl rewarded in the ende./58
Erswynde, the wolf’s wife, tells a slightly different version of the
story in Caxton’s Reynard the Fox. Instead of Isengrym being duped into
going into the well, it was she who came upon Reynard crying at the
bottom of the well. Addressing Reynard, she said that ‚thou saidest that
thou haddest there so many good fysshes eten out of the water that thy
bely wolde breste.‛59 When she goes into the other bucket and becomes
stuck (just as her husband did in the other versions), Reynard tells her that
she should take a lesson from her situation. He also says that if one of
them had to be stuck in the well, it was better that it was her, and not him.
I taught yow good/ wyl ye vnderstane it and thynke on it/ that ye
another tyme take better hede and bileue noman ouer hastely/ is he
frende or cosyn/ for euery man seketh his owne prouffyt/ They be now
fooles that do not soo/ And specyally whan they be in Ieopardye of
theyr lyues.60
Did Reynard really think that he should claim personal
responsibility for teaching Erswynde about not believing tricksters? Why
would he warn her about not listening to everything she hears, and being
The History of Reynard the Fox. 91.
Ibid.
60 Ibid.
58
59
68
more discerning about deceit? This passage is reminiscent of when, after
her feet had been removed to make Reynard’s shoes, he told her that she
should be glad that they were going to Rome on his paws. It is possible
that these two interactions could be explained as some sort of remorse felt
by Reynard, although he does not ever try to comfort his other victims in
this manner.
Perhaps he feels compelled to comfort her because they have a
shared, and murky, history. A major theme of Reynard’s vileness is his
rape of Erswynde; it is also an aspect of his un-chivalric approach to
violence. Isengrym twice accuses Reynard of assaulting his wife. The first
time this is presented, it is when Isengrym tells the king in the first scene
that Reynard had come into his house when he was away, and trespassed
against the will of his wife. The second occasion is more graphically
described, although the story is twisted several times, sometimes placing
blame on Reynard as a rapist, and at other times – when Reynard is
presenting his version of the story – accusing Erswynde of carrying out a
consenting, adulterous affair with the fox. The text tells us that Reynard
convinced Erswynde to go out onto an icy lake with him so that he could
teach her how to fish. As Reynard was expecting, her tail got caught in the
69
ice so that she couldn’t move, allowing him to leap onto her and rape her.
When Isengrym comes by and see them, Reynard runs away, and warns
the nearby villagers that there are dangerous wolves by the lake. The
villagers come, armed with staves and pitchforks, forcing Erswynde to rip
her tail out of the ice, tearing a section off. She and Isengrym barely make
it away. This passage – the necessary tearing off of a body part – is
reminiscent of the scene in which Bruyn the bear must pull his head and
paws out of the log, removing chunks of fur, to escape the villagers
Reynard warned. The wolves and the bear were also forced to part with
parts of their body to outfit Reynard in his pilgrim’s garb.
Although it may seem to the modern reader that rape would
primarily be a crime against the actual, physical victim, the prevailing
medieval view of rape was often more concerned (if the victim was a
woman) about the suffering of the man who laid claim to her, that is her
husband or father. In Reynard the Fox, rape is used to emasculate and mock
Isengrym as yet another aspect of the continued battle between the wolf
and the fox. The affection shown to Erswynde by the fox – an ironic,
perhaps mocking affection, in this case – and her husband the wolf, does
not at all lessen the crime done against her. She is also not accorded her
70
own voice, and is not allowed any authority when she tries to defend
herself. Although she was clearly frightened and in pain when she was
left caught in the ice, her husband is easily convinced by rumor – and
Reynard’s own words – that she in fact desired the fox.
We have already seen how the fox conducted himself in battle; instead of
fighting honestly, he used his terrible urine as distraction and grease as a
means of evading his foe’s grasp when in battle with the wolf. (see image
7) Another interesting (and unfair) tactic used by the fox was to call for
help from humans when he had led his enemies into a trap. In fact, the
only time humans make an appearance in any of these stories is to go after
one of the fox’s victims. This happens in the scene when Bruyn the bear
becomes stuck in the log, when Tybert the cat goes into the priest’s
farmyard, and when Reynard tells the friar about the wolf in the well
inThe Vox and the Wolf.
71
Image 6: ‚Battle.‛ Reineke Fuchs. 195.
72
All of Reynard’s successes and violence are related to his ability to
trick other characters. Completely self-interested, the fox stops at nothing
to humiliate, wound, rape, and murder his victims – even when he is not
in need of food or the preservation of his life. We have seen how his
deceit was condemned as demonic throughout medieval animal literature,
and by Caxton himself, but this is not necessarily how Reynard would
have been received by the people Caxton was printing for in the later
quarter of the fifteenth century.
73
IV
‚SUBTLY FALSE SHREWIS‛:
DECEIT AS A POLITICAL TOOL
In his 1481 edition of Reynard the Fox, William Caxton made a plea
to his readers that they read and take to heart all the lessons that they
would find there. His prologue (Caxton was virtually never shy about
sharing his opinion of whatever he was printing in prologues and
epilogues) basically speaks for itself:
In this historye ben wreton the parables / goode lerynge
and dyuerse poyntes to be merkyd by whiche poyntes
men maye lerne to come to the subtly knoweleche of suche thynges as dayly ben vsed & had in the counseylles
of lords and prelates gostly and worldly / and also
emonge marchantes and other comone people And this
booke is maad for need and prouffyte of alle god folke /
As fer as they in redynge or heeryng of it shal mowe
Vnderstande and fele the forsayd subtly deceytes that dayLy ben vsed in the world / not to thentente that men shold
Vse them but that euery man shold eschewe and kepe
Hym from the subtly false shrewis that they be not deceyuyd Thenne who that wyll haue the very vnderstan-
74
dyng of this mater he muste ofte and many tymes rede
in thys boke and ernestly and diligently marke wel
that he redeth / ffor it is sette subtylly lyke as ye shal see
in redyng of it / and not ones to rede it ffor a man shal
not with ones ouer redyng fynde the right vnderstandyng ne comprise it wel / but oftymes to rede it shal cause
it wel to be vnderstande And for them that vnderstandeth it / it shall be right Ioyous playsant and prouffitable 61
He urges his audience, whatever sort of men62 they may be,
spiritual or not, lords or merchants or other commoners, to read and
reread Reynard. Apparently, the fundamental reason why Caxton thought
it was important to read the text was because Reynard-like characters
could be found anywhere in daily life: in courts both clerical and worldly,
and amongst merchants and more common people. It would not be fitting
to be unable to recognize deceitful characters, and by reading about the
character possibly most famous for his deceit, the hope would be that
readers would be prepared to sort out who could be trusted and who
could not.
Evidently, Caxton also seemed to believe that Reynard the Fox was
the product of much older knowledge and wisdom. Of course, he was
The Prologues and Epilogues of William Caxton. 60.
Besides a few female patrons, including Margaret of York, Caxton almost never makes
reference to a reading public made up of women at all.
61
62
75
right, but he does not make any reference to possible sources for the
Dutch version he translated. By describing it as a history containing
‚parables *and+ goode lerynge,‛ he is setting the text up as something that
has come down through the ages, and he implies that the subtle
knowledge which people will come by when they read the book is
something that is being purposefully handed to them and must be
carefully noted. In a way, Caxton is shouldering a responsibility he seems
to believe he has when he chooses to share this wisdom with his readers.
Additionally, by being the one who is giving English people this ‚subtle
knowledge,‛ he is in turn handing off the responsibility to his countrymen
(and women.)
If Caxton is to be trusted for telling the truth about his views on
deceit, he would have been aligned with an earlier, traditional approach
to the concept. In his book Politique: Languages of Statecraft between Chaucer
and Shakespeare, Paul Strohm defines the medieval idea of deceit and its
use in literature:
The strategic deployment of a false exterior self is a staple of medieval
moralizing discussion, as manifested in personified characters like
‘false-seeming’ and hypocrisy, dressed in their friars’ copes in order to
deceive the world. But revealed in the cases of such staples of moral
76
allegory are permanent ‘traits’; unalterable dispositions that may be
read off as moral flaws.63
The fox is just such an example of a creature possessing an ‚unalterable
disposition.‛ In the medieval use of the fox, and Reynard in particular, the
character was clearly meant to illuminate a particular moral flaw –
deception.
However, Caxton’s anxieties about deceit did not necessarily
correspond with the presiding opinions of many of his English
contemporaries. In fact, according to Strohm, England was experiencing a
‚pre-Machiavellian moment‛ in the period of 1450-1485, coinciding (not
coincidentally) with the Yorkist dynasty. 64 Such a ‚moment‛ refers to an
increase in political discussion happening amongst educated and
connected people operating both within and outside the court. Although
the War of the Roses was an English struggle, such political discourse was
an international phenomenon, and was occurring in other realms like
Burgundy and France.
One of the subjects of this discourse was the difference between
earlier conceptions of Fortune, and the idea of vertue, more contemporary
Paul Strohm. Politique: Languages of Statecraft Between Chaucer and Shakespeare. (Notre
Dame: University of Notre Dame Press, 2005.) 37.
64 Politique. 1
63
77
to the period. Fortune, a personified, allegorical figure, was thought to
rule people’s lives, and there was especially an interest in how Fortune
influenced the lives of rulers. With her great wheel, Fortune could cause
people to fall from the top of their luck to the very bottom, and back
around again. Vertue in the fifteenth century, on the other hand, referred
to the idea that people could be more in charge of their lives (perhaps
doing away with fate all together), using their own wits and political
savvy. Vertue is not exactly the same idea as the modern concept of
virtue, which refers more to the moral character and goodness of a person.
In fact, it would not be a stretch to say that a person could act with
unvirtuous vertue. That is, one could live by the principles of vertue
without being particularly concerned with common goodness.
Although the fox relies on his cunning, and not his fortune to succeed, this
does not indicate an easy separation between fortune and deceit as
political savvy in the Middle Ages. A page from the Festal Missal, a
manuscript created at Amiens in 1323, and now housed at the Koninklijke
Bibliotheek (the National Library of the Netherlands) depicts a
Reynardian Wheel of Fortune. (see image 7) Although the animals to the
78
left and top are difficult to distinguish, an educated guess65 would lead
one to surmise that the creature seated on the throne and dressed as a king
is a fox, the creature falling to the right is a rabbit the animal being
crushed beneath the wheel is a sheep or a ram, and a wolf, dressed in
what may be a monk’s habit, climbs up the wheel to the left. This can be
interpreted as the cycle of the wolf and fox’s power and influence – they
feed off each other, and as one is at the top, the other is waiting for him to
fall so he may be in power.
We know that at one point, the wolf was a monk, and so it is possible that the
illustrator here chose to depict him in that role. The animal on the left also looks to be
larger than the animal on the top, so that shows an additional reason to believe that the
fox (the smaller of the two) is on the top and the wolf climbing up.
65
79
Image 7: Reynardian Wheel of Fortune. Festal Missal.
80
As Strohm argues, there was a rise in the time of his ‚preMachiavellian moment‛ of what he calls ‚thoughtful self-interest,‛ in
which actions that would normally be considered immoral could be
excused in influential people. Deceit in the form of perjury was one such
action. This meant that if a ruler committed perjury, knowingly and
successfully (success being the determining factor), then it could be argued
that he or she was simply acting in a way to make his or her goals
possible. It seems that, from contemporary letters and literature, oathbreaking, otherwise considered a crime against society values, one’s lord
and/or subjects, and God, seemed in this view, to sometimes be merely a
part of what one must do to attend to one’s duties. Perjury could be
equated simply with astute leadership, or even accord one a ‚perverse
badge of honor‛.66 If political, financial, and/or social success was the
goal, then deceit could conceivably be an acceptable technique in order to
achieve that goal. The emphasis on success does turn the table on the
victims of the trickster. Deceit is a game played by two (or more) parties,
and it will only work if the victim is willing (or foolish) enough to be
lulled into a false sense of security. An additional lesson seems to be
66
Politique. 31.
81
illuminated in the story of Reynard the Fox – that one must not be so
blinded by greed (for treasure or for honey), that one becomes capable of
being duped.
Philippe de Commynes was a late fifteenth-century and early
sixteenth-century writer and diplomat who was connected to both the
courts of Burgundy and France. He wrote about Lord Wenlock, captain of
Calais, who in 1470 deceived both Edward IV of England and the duke of
Burgundy in favor of the earl of Warwick and the Lancastrians. In this
passage, he seems to declare himself an exposer of other people’s deceit,
encouraging people to be aware of their neighbor’s ‚artful tricks.‛ In a
sense, he is calling attention to the same thing Caxton pointed out: that
one should be aware of the deception that is often circulating around
them. His motives, however, are not clear, especially because Commynes
himself was apparently suspected of deception, and took part in some
questionable and possibly traitorous activity himself.
Because it is necessary to be well informed of the deceptions and evils
of this world, and equally the good deeds, not at all so as to use them
but to guard against them, I will declare a deception or artful trick –
whatever one would wish to call it, but it was shrewdly conducted –
for I also wish that one should hear the deceptions of our neighbors,
and our own.... With respect to these secrets, artful deceptions or
deceptions, that have been accomplished in our part of the world, you
82
won’t hear a truer account from anyone, at least with respect to those
which have occurred during the last twenty years or more.67
During that same period, William Caxton was living in the Low
Countries, having moved to Bruges in 1441 and remaining there for
another thirty years. Caxton began working in the Low Countries as a
trader, and there was an active community of English merchants in the
region. The court of Burgundy and the English monarchy had a
complicated, though at the time, peaceful, relationship. English
merchants who worked in the Low Countries often doubled as
ambassadors of a kind, and their actions and dealings followed guidelines
set out by both the English and the Burgundians. A powerful group of
merchants, the Merchant Adventurers, were granted special permissions
from both courts. Their unique position required them to be accountable
for their own doings, and helped alleviate the suspicions held by the
citizens of Bruges (at the time the seat of the duchy of Burgundy), and so
brought the English more business.
Caxton became a governor of the English Nation of Merchant
Adventurers at Bruges in approximately1462.68 The charter for the group
67
68
Politique. 37-8.
The Prologues and Epilogues of William Caxton. xlix.
83
was revised to accommodate merchants in their contemporary political
climate, but the governorship generally followed guidelines in the original
1404 Charter for the Merchant Adventurers, which stated that:
Furthermore we give and graunt to the said Governors which are in
such sort to be chosen by the aforesaid Marchants, special power &
authoritie... to minister unto them and every of them in their causes
and quarrels whatsoever, which are sprung up or shall hereafter fall
among them in the parts aforesaid full and speedie justice, and to
reforme all manner of questions, contentious discords, and debates
moved or to be moved between the English Marchants remayning in
those parts, and to seeke reformation, to redresse, appease, and
compound the same: and further to redresse, restore, repayre and
satisfie all transgressions, damages, misprisions, violences, and injuries
done or to be done by the aforesaid Marchants of these parts. And to
require, demaund, and receive the like restitutions, reparations,
satisfactions and amends of the Marchants of those parts or of their
deputies... and to punish with reason according to the quantitie of their
faul in that behalfe all and singuler the English Marchants which shall
withstand, resist or disobey the aforesaid governours so to be chosen
or their deupties... or any of the aforesaid statutes, ordinances or
customes.69
A high level of conduct was therefore expected of English people
working abroad, and Caxton would likely have been involved in the
politics of the area as well as in keeping the justice necessary to the
Merchant Adventurers. If he was so engaged in the politics and interests
involving England and Burgundy, he could only have been aware of the
discord in England surrounding the intrigues of the Yorkists and
69
Ibid. liv.
84
Lancastrians, and he surely would have been aware of the deceit being
played out on his side of the channel.
When Margaret of York, Duchess of Burgundy, wife of Charles the
Bold (the duke of Burgundy), and sister to Edward IV of England, arrived
in Bruges, she almost immediately became Caxton’s first significant
patron in 1468.70 Margaret was a bibliophile and newly arrived from
England, so it is not a great surprise that Caxton would have fallen so
quickly into her favors. Although it is not clear what sort of position
Caxton had at the Burgundian court, it is thought that he worked as a
kind of hybrid ambassador and merchant at first, before he became a
translator and printer as well. It was for Margaret that Caxton printed his
first book, Lefevre’s Recueil de Histoires de Troie. In his epilogue to Book II,
he alludes to the current troubled state of the world. It is interesting to
note that he refers to himself in his prologue as a citizen and merchant of
London, not Bruges, though he had been living in the Low Countries for
the past few decades, and he printed this text on the continent (Bruges,
Ghent, and Cologne.)
Christine Weightman. Margaret of York: Duchess of Burgundy 1446-1503. (New York: St.
Martin’s Press, 1989.) 209.
70
85
Epilogue to Book II
Thus endeth the seconde book of the recule of the historyes of Troyes / whiche bookes were late translated in to frenshe out of latyn / by the labour of the vene
rable persone raoul le feure preese as a fore is said / And
by me Indigne and unworthy translated into this rude
englisshe / bythe comandement of my said redoubtid lady
duches of Bourgogne: And for as moche as I suppose
the said two bokes ben not had to fore this tyme in our
englissh langage / therfore I had the better will to accom
plisshe this said werke / which werke was begonne in
Brugis / & contynued in gaunt And finysshid in Coleyn
In the tyme of ye troublous world / and of the grete deuy
sions beyng and reygnyng as well in the royames of
englond and fraunce as in all other places vnyuersally
thurgh the world that is to wete the yere of our lord athousand four honderd lxxi. . .71
It is difficult to imagine that Caxton was not aware of troublesome politics
between England and Burgundy and within each realm, and so reading
Reynard the Fox, which Caxton printed later in Westminster, in 1481, in the
context of what he would have been surrounded at the Burgundian and
English courts, as well as the mercantile world, gives a new level of
meaning to how Caxton saw his role and his views on the world that he
inhabited.
Although Burgundy and England were reasonably at peace with
each other, they certainly shared a tumultuous recent history. Burgundy
71
The Prologues and Epilogues of William Caxton. 6, 7.
86
had sided with England for parts of the Hundred Years’ War, but the
duke (Philip the Good) turned his allegiance to France near the end of it,
playing an important role in the siege of Calais in 1436.72 A pamphlet
called The Libel of English Policy was written between 1436 and 1438 in
reaction to the siege of Calais.73 A spokesman for the cloth exporters wrote
what ‚constituted a well-informed and comprehensive program based on
a remarkably mature concept of economic nationalism.‛74 That is, this
pamphlet demonstrates an awareness of the relationship between political
and economic power, and suggests that people were interested in building
up economic and mercantile prowess in order to support English
international politics.
Arthur B. Ferguson describes in The Articulate Citizen and the English
Renaissance a new consciousness of nationalism growing in the fifteenth
century, building on the idea of the royal court as the center of English
power. Various aspects of the fourteenth century, particularly certain
sources of turmoil like the Black Death and the Hundred Years’ War,
Arthur B. Ferguson. The Articulate Citizen and the English Renaissance. (Durham: Duke
University Press, 1975) 27.
73 The Articulate Citizen. 22.
74 Ibid.
72
87
helped promote the idea of a nationalistic identity.75 The growth of the
vernacular in literature as well as policy also reinforced this identity, as
well as an awareness of the importance of trade and mercantilism.
English language and trade were both concepts that Caxton was strongly
invested in. He writes in many of his prologues and epilogues how he
despairs of the state of the English language, hoping that by printing in
the vernacular and making literature more readily available to the public,
he will have a hand in elevating the language. He was heavily involved in
translating works into English, as we have seen with Reynard the Fox, not
only from Dutch, but also especially from French, German and Latin. As a
merchant, and a governor of the Merchant Adventurers at that, Caxton
could also not have gone long without being aware that he was English.
If Caxton was the product of his time and situation, and if he was
engrossed not only in contemporary politics, but also in the discussions
occurring amongst the intellectuals of the day, it may be wise to read his
words with a grain of salt. After all, he did not change the story of
Reynard so that Reynard eventually is punished for his continuous
deception (deception against the crown, no less.) Could Caxton’s
Remember that these same conflicts have also been treated as a source for fantastical
imagination in English art and literature.
75
88
introduction of the text into the England have been a purposeful part of
the greater political discourse? What did Caxton mean when he wrote ‚As
fer as they in redynge or heeryng of it shal mowe vnderstande and fele the
forsayd subtly deceytes that dayly ben vsed in the world / not to thentente
that men shold vse them but that euery man shold eschewe and kepe hym
from the subtly false shrewis that they be not deceyuyd‛? He does write
that people should learn about deceit not so that they can copy Reynardlike characters, but so that they can recognize deceitful others in their
midst. Unlike Commynes, there is no obvious reason why Caxton should
be suspected of deceit himself. Perhaps he performed his tasks
successfully without having to resort to deception.
If so, it is possible that Caxton pined for the ‚moralizing
discussion‛ Strohm alludes to. Ferguson argues that there was a serious
frustration and disillusionment in the fifteenth century reacting to the
political conflict, foreign economic competition, as well as late fourteenth
century anxieties about Lollardy. Coming out of this disillusionment was
a distinct sentimentalism about knightly codes of conduct, and the general
idea of chivalry. Knights were not ever supposed to deceive their lords,
nor should they deceive anyone. Instead, they were supposed to live
89
honestly and dutifully, always in the name of their earthly lord and God.
Writers like William Worcester, who completed the Boke of Noblesse in the
1470s, and Thomas Malory, who wrote Le Morte d’Arthur in the fifteenth
century as well, are examples of literary figures promoting chivalric
ideals. Caxton printed both texts, and he was also a champion of other
earlier English writers, such as Chaucer. In his prologue to the The Order of
Chivalry, which he printed in circa 1484, Caxton clearly states that he is
presenting the text to ‚noble gentlemen,‛ the successors of Arthurian
knights, and he praises ‚manhode, curtosye, gentylnesse,‛ recommending
that his audience turn to historical English figures like Richard the
Lionheart for inspiration.76
By placing Caxton in his contemporary political climate, and
thinking about him as a product of his own time and situation, one can see
how his own words and actions might have been motivated by his
understanding of political deceit. Applying these concepts to the actual
story and character of Reynard the Fox can be a trickier task. It is
important to keep in mind several things about Reynard. First, Caxton did
not invent the character. The story was already at least three centuries old
76
The Prologues and Epilogues of William Caxton. 80.
90
by the time he translated and printed it. Second, even the original creators
of the Reynard cycle did not make up his character from scratch. Reynard
is based on much older ideas and superstitions about the fox in the natural
world, which is evident through older fables by writers like Aesop, and
through texts about the natural world like bestiaries and encyclopedias.
Although Reynard the Fox was not born out of the political and
socio-cultural climate of late 15th century England and its neighbors, that
context is crucial to understanding how the text would have been
received. There is little known concerning Caxton’s decision to make
Reynard the Fox accessible to his English audience besides what he himself
wrote, and yet the fact remains that he did choose to do so. Evidently,
Caxton believed that his audience would relate to the text, and reading his
prologue and epilogue with other writings by his contemporaries, it
would seem that he was introducing Reynard as part of the dialogue
occurring in England at the time. Because of his concern of troubled
politics, and deceit as a political tool, he almost certainly believed that the
text would have an audience. As a merchant, he had to be aware of the
possible popularity of what he sold, and so the fact that this powerful
trader saw a market for Reynard the Fox only further serves to prove how
91
relevant the topic of deceit was in his time. Fundamental also to his
contemporaries’ interest in the text must also have been an assumption
that they would be well-enough familiar with animal iconography so that
they could correctly interpret the symbolism so vital to the text.
If Strohm was correct in conjecturing that late fifteenth century
writing had moved beyond finding examples of immorality for didactic
purposes, and instead was more interested in the complexities behind
traditional immoral behavior like deception, then that could be applied to
Reynard’s deceptions as well. Reynard is the ultimate trickster. He is
constantly operating within a cycle of making his victims trust him, and
then taking advantage of them once they are vulnerable. He goes
unpunished because he is so good at deceiving his victims that he can talk
himself off the scaffold and back into the king’s good graces. If late
fifteenth century England was more concerned with a person’s vertue and
the ability to control one’s own life, then Reynard the Fox would be a
perfect example of that view. Reynard gets away with what he does
through his own merits, not out of luck, or God’s grace, or Fortune’s
favors.
92
V
CONCLUSION
In reading the fox literature written throughout the ages, we see
that Reynard hardly ever changes. He plays the same tricks over and over
again, and he is always meant to be read as an example of deceit. Because
of his unchanging character, he provides such an interesting opportunity
to understand not simply what sort of character he is, but how the
interpretation of him illuminates something about whatever audience is
reading him. When we first meet the fox in the older fables, he is
represented as a largely flat character, whose function is to pull tricks,
often in order to survive. He is a hungry animal looking for prey, and he
uses his mind in order to outwit his food. And yet, this trait that could be
characterized as a survival mechanism is demonized in the Middle Ages.
93
His motivations become less simple and more sinister, and each of his
natural traits are given human and devilish motivations.
In fifteenth century England, Reynard gets taken up into political
discourse, and we see how deceit can actually be a trait that is admired, if
used successfully. The motivations are political, relating to power, and
perhaps also financial. There definitely is something sinister about this
character; he is used by Caxton as an example of what could happen to
anyone. He is sinister, then, because he illuminates a potentially
unpleasant truth: that it is far too easy to become either the deceiver or the
deceived. Anyone can be so taken up by a desire for power and riches that
he (or she) would turn to deceit – and murder, rape, and other crimes – to
fulfill this desire, this ‚thoughtful self-interest.‛ At the same time, people
are also at risk of being deceived, and they become the fools of the story if
they are not more discerning, and if they get carried away with their own
greed. Versions of the story continued to be popular in the sixteenth
century in both England and the Low Countries. Many editions from this
period included woodcuts, which had a tendency to circulate throughout
both areas, indicating a continued exchange of material.
94
The story is taken up again in the nineteenth century, but for highly
different reasons. In her article ‚Hunting Reynard: How Reynard the Fox
Tricked His Way Into English and Dutch Children’s Literature,‛ Sanne
Parlevliet discusses how animal stories made a transition to childhood
literature in this time, a fact that illuminates both an interest in a particular
kind of childhood innocence, as well as a highly prejudiced, evolutionistic
kind of approach to the Middle Ages. Animals were equated to children –
both were thought to be simple and innocent creatures – and in turn, the
Middle Ages were thought to have existed as the childhood of the modern
period, its citizens immature and not yet fully developed. In order to
make the story appropriate for this nineteenth century approach to
childhood, new versions were often drastically altered – sometimes by
veiling the language in metaphor so as to disguise the gruesomeness of
the story, and at other times completely changing the plot.
In the Netherlands, Reynard was taken up as a kind of national
hero, and certainly as a representative of Dutch values. Its animal content
made it ideal for the nineteenth century classroom, and it was further
appreciated because the medieval Van den Vos Reynaerde was understood
to be one of the greatest pieces of medieval Dutch literature. In order to
95
make the story more appropriate, certain aspects of Reynard’s character
were played up. One aspect, hardly seen elsewhere, was the idea of
‚Reynard the Family Man.‛77 The family was the cornerstone of Dutch
society in this century; in fact, Dutch culture has emphasized the
importance of the nuclear family for centuries, and continues to do so to
this day. It was in the home, and amongst family, that good moral
character could be cultivated, and so it seemed natural that a text meant to
teach strong values should include the family at the heart of it. In order to
emphasize Reynard as a father, home scenes were extended, and the fox
was depicted teaching his sons moral lessons. Often editions of Reynard
the Fox included illustrations of the fox, dressed in a shirt and coat,
playing with his small children, while his wife sits nearby, entertaining
other children.
Even more intriguing was how Reynard was taken up as a national
Dutch hero. Besides emphasizing the positive aspects of the story, such as
family life, the Dutch seemed particularly interested in how the fox could
use his wits in order to succeed over more physically powerful foes. As a
Sanne Parlevliet. ‚Hunting Reynard: How Reynard the Fox Tricked His Way Into
English and Dutch Children’s Literature.‛ (Children’s Literature in Education. 2008. 39: 107
– 120.) 115.
77
96
culture that places great emphasis on the intellect, and as a small country,
this interpretation of the fox’s actions certainly does seem appropriate. It
is also reminiscent of the Jewish Fox Fables discussed earlier; in these the
fox often played the role of the trickster in order to survive, representing
the persecuted Jewish minority living in Catholic Europe.
Fox stories have at times been manipulated in order to place greater
emphasis on different aspects, but they have largely remained the same.
The diversity of interpretation lends to the fox, and to Reynard more
specifically, a more varied and dynamic history, even when he rarely did
anything new. It appears that animal literature is successful – in that so
many fables continue to be read through millennia - because of the
reader’s ability to grasp at the humanity that is present in the story, while
being able to fill in her own understanding of the tale. The use of simple,
almost allegorical, characters allows much room to fill in meaning
particular to different cultures. This has made it possible for the trickster
fox to be the cunning starving animal, the devil, the astute politician, the
family man, and the national hero.
In his introduction to a 1912 edition of Aesop’s Fables, G. K.
Chesterton writes:
97
So in all the fables that are or are not Aesop’s all the animal forces drive
like inanimate forces, like great rivers or growing trees. It is the limit and
the loss of all such things that they cannot be anything but themselves: it
is their tragedy that they could not lose their souls. This is the immortal
justification of the Fable: that we could not teach the plainest truths so
simply without turning men into chessmen. We cannot talk of such
simple things without using animals that do not talk at all.78
V.S. Vernon Jones. Aesop’s Fables: a new translation. (Intr. G. K.
Chesterton. Illus. Arthur Rackham. London: W. Heinemman; New York:
Double Day, 1912.
78
98
VI
BIBLIOGRAPHY
Allen, Elizabeth. False Fables and Exemplary Truth in Later Middle English
Literature. New York: Palgrave Macmillan, 2005.
Aspects of the Medieval Animal Epic: Proceedings of the International
Conference, Louvain, May 15 – 17, 1972. Ed. E. Rombauts and A.
Welkenhuysen. Leuven: Leuven University Press, 1975.
Arnold, Thomas James. Reynard the Fox, after the German version of Goethe.
Illus. Wilhelm von Kaulbach. New York: T. Stroefer, 1870. Mount
Holyoke College Archives & Special Collections.
Astell, Ann W. Political Allegory in Late Medieval England. Ithaca: Cornell
University Press, 1999.
Barr, Helen. Socioliterary Practice in Late Medieval England. Oxford: Oxford
University Press, 2001.
Baxter, Ron. Bestiaries and Their Users in the Middle Ages.
Becoming Animal: Contemporary Art in the Animal Kingdom. Ed. Nato
Thompson. MASS MoCA. Cambridge: The MIT Press, 2005.
Bennett, H. S. "Caxton and His Public." The Review of English Studies,
Vol. 19, No. 74. (Apr., 1943), pp. 113-119.
Blake, N.F. "English Versions of Reynard the Fox in the Fifteenth and
Sixteenth Centuries." Studies in Philology, Vol. 62, No. 1 (Jan., 1965),
pp 63-77.
The Book of Kells: Reproductions from the Manuscript in Trinity College,
Dublin. Ed. Françoise Henry. New York: Alfred A. Knopf, 1974. Mount
Holyoke College Archives & Special Collections.
99
Book Production and Publishing in Britain: 1375 – 1475. Ed. Jeremy Griffiths
and Derek Pearsall. Cambridge: Cambridge University Press, 1989.
Bradbury, Nancy Mason. Writing Aloud: Storytelling in Late Medieval
England. Urbana: University of Illinois Press, 1998.
Burgess, Glyn S. The Lais of Marie de France: Text and Context. Athens:
University of Georgia Press, 1987.
Burnley, David. Courtliness and Literature in Medieval England. New York:
Addison Wesley Longman Limited, 1998.
Camille, Michael. Image on the Edge: The Margins of Medieval Art.
Cambridge: Harvard University Press, 1992.
Chaucer, Geoffrey. The Canterbury Tales. Ed. Robert Boenig and Andrew
Taylor. Ontario: Broadview Press, 2008.
Cole, Andrew. Literature and Heresy in the Age of Chaucer. Cambridge:
Cambridge University Press, 2008.
Crotch, W.J.B. The Prologues and Epilogues of William Caxton. London: the
Early English Text Society, Oxford University Press, 1928.
Dane, Joseph A. Abstractions of Evidence in the Study of Manuscripts and
Early Printed Books. Aldershot: Ashgate Publishing Limited, 2009.
Dane, Joseph A. The Myth of Print Culture: Essays on Evidence, Textuality,
and Bibliographical Method. Toronto: University of Toronto Press Inc.,
2003.
Debaene, Luc. De Nederlandse Volksboeken: Onstaan en Geschiedenis van de
Nederlandse Prozaromans, Gedrukt Tussen 1475 en 1540. Antiquariaat
‚Merlijn‛ Hulst, 1977.
The Dialoges of Creatures Moralysed: A Critical Edition. Ed. Gregory
Kratzmann and Elizabeth Gee. Leiden: E. J. Brill, 1988.
Driver, Martha W. The Image in Print: Book Illustration in Late Medieval
England and Its Sources. London: The British Library, 2004.
Edminster, Warren. The Preaching Fox: Festive Subversion in the Plays of
Wakefield Master. Studies in Medieval History and Culture. Ed. Francis
G. Gentry. New York: Routledge, 2005.
The Epic of the Beast, Consisting of English Translations of the History of
Reynard the Fox and Physiologus, with an Introduction by William Rose,
with Kaulbach's Famous Illustrations. London: G. Routledge & Sons Ltd,
1924.
Erbe, Theodor. Mirk’s Festial. Early English Text Society. Millwood: Kraus
Reprint Co., 1973.
100
Expectations of the Law in the Middle Ages. Ed. Anthony Mussen.
Woodbridge: The Boydell Press, 2001.
Ferguson, Arthur B. The Articulate Citizen and the English Renaissance.
Durham: Duke University Press, 1965.
Ferster, Judith. Fictions of Advice: The Literature and Politics of Counsel in Late
Medieval England. Philadelphia: University of Pennsylvania Press, 1996.
Gedrukt in Nederland: Vijf Eeuwen: Letter, Beeld & Band. Amsterdam:
Rijksmuseum, 1960.
Geoffrey of Monmouth. The History of the Kings of Britain. Trans. Lewis
Thorpe. London: Penguin Books, 1966.
Gheraert Leeu: meesterprenter ter goude, 1477 – 1484. Stedelijk Museum Het
Catherina Gasthuis. Gouda, 1992.
Goethe, Johann Wolfgang von. Reineke Fuchs, mit zeichnungen von Wilhelm
von Kaulbach. . . Stuttgart: J. G. Cotta’fcher Berlag, 1857.
Gravdal, Kathryn. Ravishing Maidens: Writing Rape in Medieval French
Literature and Law. Philadelphia: University of Pennsylvania Press,
1991.
Handschriften en Oude Drukken van de Utrechtse Universiteitsbibliotheek.
Utrecht: Universiteitsbibliotheek, 1984.
Hassig, Debra. Medieval Bestiaries: Text, Image, Ideology. Cambridge:
Cambridge University Press, 1995.
Heraldry, Pageantry, and Social Display in Medieval England. Ed. Peter Cross
and Maurice Keen. Woodbridge, Suffolk: Boydell Press, 2002.
Hilmo, Maidie. Medieval Images, Icons, and Illustrated English Literary Texts
from the Ruthwell Cross to the Ellesmere Chaucer. Aldershot: Ashgate
Publishing, Limited, 2004.
The History of Reynard the Fox. Trans. William Caxton. Ed. N.F. Blake. The
Early English Text Society. London: Oxford University Press, 1970.
‚Icons: a Portrait of England,‛
<http://www.icons.org.uk/nom/nominations/fox-the >
Incunabula Printed in the Low Countries: A Census. Ed. Gerard van Thienen
and John Goldfinch. Niewkoop: De Graaf Publishers, 1999.
Index of Printed Middle English Prose. Ed. R.E. Lewis, N.F. Blake, A.S.G.
Edwards. New York: Garland Publishing Inc., 1985.
Janin, Hunt. Medieval Justice: Cases and Laws in France, England, and
Germany, 500 – 1500. Jefferson: Mc Farland & Company, Inc.,
Publishers, 2004.
101
Jones, Vernon V.S. Aesop’s Fables: a new translation. Intr. G. K. Chesterton.
Illus. Arthur Rackham. London: W. Heinemman; New York:
Doubleday, 1912.
Kernan, Alvin. The Cankered Muse: Satire of the English Renaissance. New
Haven: Yale University Press, 1959.
Kingender, Francis. Animals in Art and Thought To the End of the Middle
Ages. Ed. Evelyn Antal and John Harthan. Cambridge: M.I.T.
Press,1971.
Kuskin, William. Symbolic Caxton: Literary Culture and Print Capitalism.
Notre Dame: University of Notre Dame Press, 2008.
Law and Body Politics Regulating the Female Body. Jo Bridgeman and Susan
Millns. Aldershot: Dartmouth Publish Company Limited, 1995.
Literary Practice and Social Change in Britain, 1380-1530. Ed. Lee Patterson.
Berkeley: University of California Press, 1990.
Love and Marriage in Late Medieval London. Sel., Trans., Intr., Shannon
McSheffrey. TEAMS. Medieval Institute Publications. Kalamazoo:
Western Michigan University, 1995.
The Luttrell Psalter: a facsimile. Ed. Michelle P. Brown. London: The British
Library, 2006. Mount Holyoke Archives & Special Collections.
Lydgate Matters: Poetry and Material Culture in the Fifteenth Century. Ed. Lisa
H. Cooper and Andrea Denny-Brown. New York: Palgrave Macmillan,
2008.
Mann, Jill. From Aesop to Reynard: Beast Literature in Medieval Britain.
Oxford: Oxford University Press, 2009.
Marie de France. The Lais of Marie de France. Trans. Robert Hanning and
Joan Ferrante, New York: E.P. Dutton, 1978.
The Mark of the Beast: The Medieval Bestiary in Art, Life, and Literature. Ed.
Debra Hassig. New York: Garland Publishing, Inc., 1999.
Martin, Mary Lou. The Fables of Marie de France. Birmingham: Summa
Publications, Inc., 1984.
Medieval Women and the Law. Ed. Noël James Menuge. Woodbridge: The
Boydell Press, 2000.
Middle English Humorous Tales in Verse. Ed. George H. McKnight. Boston:
D. C. Heath & Co., 1913.
Moncreiffe, Iain and Pottinger, Don. Simple Heraldry. London: Thomas
Nelson and Sons Ltd., 1956.
102
The Monstrous Middle Ages. Ed. Bettina Bildhauer and Robert Mills. Carfiff:
University of Wales Press, 2003.
On the Properties of Things: John Trevisa’s Translation of Bartholomeus
Anglicus De Proprietatibus Rerum. Oxford: Clarendon Press, 1975.
Park, Katharine and Daston, Lorraine J. "Unnatural Conceptions: The
Study of Monsters in Sixteenth and Seventeenth Century France and
England." Past & Present, No. 92 (Aug., 1981), pp. 20-54.
Literary Practice and Social Change in Britain, 1380 – 1530. Ed. Lee Patterson.
Berkeley: University of California Press, 1990.
Parlevliet, Sanne. "Hunting Reynard: How Reynard the Fox Tricked His
Way Into English and Dutch Children's Literature." Children’s Literature
in Education. 2008. 39: 107 – 120.
The Prologues and Epilogues of William Caxton. Ed. W. J. B. Crotch. Early
English Text Society. London: Oxford University Press, 1928.
Reinaert de Vos: Naar de Oudste Berijming Uit de Twaalfte Eeuw, en Opniew in
1834 Berijmd door Jan Frans Willems. Intr. Prof. Dr. W. G. Hellinga. Den
Haag: Bert Bakker, 1964.
Reynard the Fox: A Burlesque Poem from the Low-German Original of the
Fifteenth Century. Boston: Lee and Shepard, 1872.
Reynard the Fox and other Mediaeval Netherlands Secular Literature. Ed.
Colledge, E. Sijthoff Leyden, 1967.
Reynard the Fox, after the German version of Goethe. Thomas James Arnold.
Illus. Wilhelm von Kaulbach. New York: T. Stroefer, 1870.
Reynard the Fox: Social Engagement and Cultural Metamorphoses in the Beast
Epic from the Middle Ages to the Present. Ed. Kenneth Varty. New York:
Bergahn Books, 2000.
The Romance of Reynard the Fox. Trans. D.D.R. Owen. Oxford: Oxford
University Press, 1994.
Rooney, Anne. Hunting in Middle English Literature. Cambridge: The
Boydell Press, 1993.
Salter, Elizabeth. English and International: Studies in the Literature, Art and
Patronage of Medieval England. Ed. Derek Pearsall and Nicolette
Zeeman. Cambridge: Cambridge University Press, 1988.
Saunders, Corinne. Rape and Ravishment in the Literature of Medieval
England. Cambridge: P.S. Brewer, 2001.
Simpson, J.R. Animal Body, Literary Corpus: The Old French Roman de
Renart. Amsterdam: Editions Rodophi B.V., 1996.
103
Sir Gawain and the Green Knight. 2nd ed. Brian Stone, trans. London:
Penguin Books, 1974.
Sources and Analogues of the Canterbury Tales. Volume 1. Ed. Robert Correal,
Mary Hamel. Cambridge: D. S. Brewer, 2002.
Strohm, Paul. Politique: Languages of Statecraft between Chaucer and
Shakespeare. Notre Dame: University of Notre Dame Press, 2005.
Tribble, Evelyn B. Margins and Marginality: the Printed Page in Early Modern
England. Charlottesville: University Press of Virginia, 1993.
Varty, Kenneth. Reynard the Fox: a study of the fox in medieval English art.
New York: Humanities Press, 1967.
________. Reynard, Renart, Reinaert, and Other Foxes in Medieval England: the
Iconographic Evidence. Amsterdam: Amsterdam University Press, 1999.
Weightman, Christine. Margaret of York, Duchess of Burgundy, 1446 – 1503.
New York: St. Martin’s Press, 1989.
Wheatley. Mastering Aesop: Medieval Education, Chaucer, and His Followers.
Gainesville: University Press of Florida, 2000.
Wirtjes, Hanneke, ed. The Middle English Physiologus. Early English Text
Society. Oxford: Oxford University Press, 1991.
Wolfgang, Lenora D. "Caxton's 'Aesop': The Origin and Evolution of a
Fable." Proceedings of the American Philosophical Society, Vol. 135,
No. 1 (Mar., 1991), pp. 73-83.
Yamamoto, Dorothy. The Boundaries of the Human in Medieval English
Literature. Oxford: Oxford University Press, 2000.
Ziolkowski, Jan. M. Talking Animals: Medieval Latin Beast Poetry, 750 – 1150.
Philadelphia: University of Pennsylvania Press, 1993.